When I first began these targets in 2008, I concentrated on the back-story and biography of the woman pictured. Sometimes I referred to the desperado roles of the actress, such as in Susan Hayward. Sometimes it was more about the personal real-life saga, such as in Natalie Wood. I liked if the two were married: Liza is the child of Hollywood’s biggest tragedy – and she also played Sally Bowles, a woman seen more as an artiste than artist, someone who fights for art, sex and love on her own terms.
Through the course of making over fifty pieces, they became about other things. Things didn’t change or mutate so much as they simply spread. One area I’ve mined for decades is art history, but I’ve never fully committed to restaging it. After Ken Butler gave me all these art history textbooks which languished in his childhood home basement, I felt free to cut away at the canon.
What I’ve found is that my interest in the Hollywood goddess, the fashion model and the goddess in art history all endlessly collided. The Babe was always the warrior, soldier, muse, sage, goddess and god. The works just point out the obvious.