Can you briefly describe how you came to participate in the Whitney Biennial?

Hugh Davies, Director of the La Jolla museum, was one of the curators of the Whitney Biennial. He had seen my work in a magazine called Poliester, and out of that he chose my work. He called me later.

Do you think the traditional format of biennials is still effective for the 21st century art world, or would you have any ideas for change?

Well, the system is so unfair to begin with. It’s not a fair game really. They did something different this year (2000), and that was to hire outside curators. If the Whitney wouldn’t have allowed other curators to come in, I wouldn’t have had that opportunity. It wouldn’t have happened with the same format. Those guys usually go for the big names, and it’s connected to the galleries and who you know. I think the format of the biennial is a political one. It's effective for the New York art world, but I was very lucky to be a part of it.

How has your participation in the Biennial affected your artistic career?

I’ve been selling my works in 1991, so it’s been very gradual and the shows would always sell out. I think what makes it different now are the bigger galleries, there’s more money, there are more and bigger publications. The Los Angeles Times gives me a greater focus. I was coming out in the Times almost once a month for something or another. It’s fun, but I know it’s going to die down and I’m trying not to put too much attention on it because it can take you away from what your doing. Because, in the end, it’s just hype and it can be a little distorted. After these kinds of events, people meet you, they’re happy and they’re excited, and I’m think, “You don’t know me. Why are you so happy and excited?” So when things calm down, the people that really like your work will stick around. Things have clamed down since then, but I know they’re going to start up again. So, what I have to do is set a different pace, leave room to relax and take care of myself.

ARTIST BIOGRAPHY