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Cindy Sherman: It's a gorgeous day. God, I'm so lucky, because yesterday was terrible.
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Yeah, my assistant was actually here when it happened, and she got so freaked out that she left a day early. I think she was waiting for the tsunami; she was really, really scared. So in a way I'm sorry I missed it—but I'm not sorry I missed it.I saw your show at The Broad in Los Angeles, and it was fantastic—so grand and comprehensive. How do you feel this show is in relation to that one?
I like a show like this that is limited by just a timeframe, because the Broad show, or other shows that go back to early 70s work; they're interesting in a different sort of way. It's a great overview of my work, but I think a show from the last 16 years seems more thematically cohesive, just because of the characters and the way they look; the types of portraiture that's involved; and then the use of digital backgrounds. It sort of holds them together as a good group.And it feels less like a history lesson in a way, and more like they are all talking to one another.
Good.
Oh yeah, profoundly horrible. It's feeling like you've been gutted, and I think that speaks for a lot of New Yorkers, and certainly the east and west coast of the States. It's really, really scary and people don't know what to do about it, so that's why there are a lot of protests now and there's one being planned for the day after the inauguration. But I kind of feel like, what's that really going to do? It's too late.
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I don't know, I don't know. I would like to address it; I don't know how I would. I feel a similar way to how I felt after 9/11, where there was a real before and after. I remember two weeks ago and how optimistic everybody was, and then suddenly it was like: boom! And it's like you can't go back, it's this major change, like a loss of innocence, or hope, or something. After 9/11, it was really hard for me to think about going to work again, and maybe it will be a similar thing here too.Do you feel like you have a responsibility to politicise your work?
Not a responsibility, but I feel like it's an opportunity, which as an artist, should be considered as a way of making your voice count.
The way it's being described is it's about ageing, but I wasn't planning that. It was more like I couldn't help it because I've aged since the last time I was in front of a camera. It was kind of a shocking revelation, like, "Ooh, I guess the characters are getting older because I'm getting older." But what really informed the choice of characters was a book about that whole era of 1920s German expressionist films. It had all these great portraits of women and I just loved the make-up. I realised that in my last two bodies of work—the mural and the Chanel pieces—that I didn't use any make-up because I was changing the faces digitally, and I realised I missed make-up in a major way. I really love the idea that these characters have tons of make-up on, like over the top make-up; painted-in lips, false eyelashes, bizarre eyebrows…
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That's one of the most satisfying times, but I think the real fun magic that I notice is when I'm looking at it on my computer after I've shot it, and I see something that I never expected. It's like a character was born onto my computer screen, like, 'Wow, I never expected her to show up!'It's like a fiction writer, when the character takes over.
I suppose, yeah.That must feel amazing.
Yeah, it's a good feeling.Cindy Sherman is on at City Gallery in Wellington, until March 19, 2017.Follow Max on Twitter.