Jim Carrey: “There is no me”
Mr. Carrey, have you ever had a spiritual epiphany?
Well, I have gone through a lot changes in the last few years and a lot of realizations — and I guess you could say awakenings about things. Everything is touched by that, everything I am doing creatively right now seems to point to the awareness of a lack of self. What are we? Why are we here? And the answer to both of those questions is: nothing, no reason, as far as I am concerned. It’s just about playing with form.
What do you think prompted those awakenings?
I guess just getting to the place where you have everything everybody has ever desired and realizing you are still unhappy. And that you can still be unhappy is a shock when you have accomplished everything you ever dreamt of and more and then you realize, “My gosh, it’s not about this.” And I wish for everyone to be able to accomplish those things so they can see that.
Vanessa Beecroft: “I’m repulsed by pop culture”
Ms. Beecroft, when did you first become interested in the female form?
There was always this obsession of female representation in me. When I was growing up in Malcesine on Lake Garda, Italy, there was a group of girls living close by and together we would draw images of our dolls with red hair, freckles, green eyes. They were supposed to be like photographs and they even had captions... We drew several of these photo albums every single day for three or four years. That was the first time I was very conscious of the fact that I was only interested in girls and women in terms of representation. Even when I went to art school, I was fascinated by the nude models. But in Italy at that time, there was a lot of censorship towards figurativism so that made things difficult.
Is that why your early work featured mostly live models instead of hand-drawn or sculpted figures?
Yes, at the time, I was very young and I felt that if I wanted to have an impact on society and in the art world, using those skills like drawing or sculpting, I couldn’t. I wasn’t able to because of this censorship of non-conceptual art in the early nineties. If you practiced any kind of figurativism, you were deemed some sort of nihilistic and conservative artist. I did not want to do that, so I immediately constrained myself and decided not to.