Cynthia Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits.
I'm good at using my face as a canvas… I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.
I was feeling guilty in the beginning; it was frustrating to be successful when a lot of my friends weren't. Also, I was constantly being reminded of that by people in my family making jokes.
I didn't have any interest in traditional art.
If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already. . the challenge is more about trying to make what you can’t think of.
So many things suddenly made sense for the clowns, for the whole idea. I’d been going through a struggle, particularly after 911; I couldn’t figure out what I wanted to say. I still wanted the work to be the same kind of mixture – intense, with a nasty side or an ugly side, but also with a real pathos about the characters – and clowns have an underlying sense of sadness while they’re trying to cheer people up. Clowns are sad, but they’re also psychotically, hysterically happy.
Believing in one’s own art becomes harder and harder when the public response grows fonder.
I can be fearlessly strong at times to protect an inner frailty.
I wanted to create something that people could relate to without having read a book about it beforehand.
My message for people to not take anything for granted, to respect what they might not understand.
People are always trying to find the next groovy thing, and it hasn't gone back to painting. . . I'd like it to go back to painting. I'm sick of all this photography and video. There's so much of it, it's almost annoying.
Dreamers are those who have achieved in love and life, because it is a dream that got them there.
I don't think I can see the world through other people's eyes, but I can capture an attitude or a look that makes others think I can. I have an appreciation for why people choose to look the way they do. But I can't know what they experience.
Nowadays, with digital printing, it’s so easy to make everything perfect, which is not always a good idea. Sometimes the mistakes are really what make a piece.
The way I see it, as soon as I make a piece I’ve lost control of it.
People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.
My ideas are not developed before I actually do the pieces.
I am fine, though it is hard to think of what kind of work to make at this point, other than decorative, escapist or abstract. I suppose I'll explore one or all of these things.
I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.
I don't analyze what I'm doing. I've read convincing interpretations of my work, and sometimes I've noticed something that I wasn't aware of, but I think, at this point, people read into my work out of habit. Or I'm just very, very smart.