Issue link: http://papercitymagazine.uberflip.com/i/889110
made the panels so they'd be along the walls. Then I asked a friend, Bill Katz, who is a designer, to make some kind of stanchion for the instillations. He designed the frames so they could stand autonomous in the room. You can walk through them, like a forest or something. It made it much more dynamic. They're life-size, so you're life-size in it, moving back and forth in time and sideways. RELIGION AND SUFFERING. Pilgrim is like a completely convoluted, loose story — the annunciation of the life of the Virgin Mary. I was raised Catholic, so I think the reason people are devoted to her is because she has this child that dies, and she suffers the hardship of that. I saw my sister die, and I saw my mother's hardship and sorrow. Most of the time, gods are represented as being in another realm, whereas the Virgin Mary is very much someone who suffers what humanity suffers. TEXAS CONNECTIONS. I did a residency maybe two years ago at UNT, then I came five or six times over the course of a year. I loved it. There's something so beautiful and soft about the air here. Texas is a state that has a tremendous amount of support for art privately within their museums. I also came when I was a teenager because the Nasher family supported my father's work and had pieces of his. I remember going to their home. THE QUIETER LIFE. About five years ago, I stopped traveling as much as possible. I like having a kind of monastic life, being solitary. Very simple. "Mortal," on view through Sunday, December 17, at the Dallas Contemporary, 161 Glass St., 214.821.2522, dallascontemporary.org. Kiki Smith Bringing Generations Home for the Holidays Stephanie Pinkston & Margie Harris Executive Vice Presidents 214.803.1721 | 214.460.7401 stephanie.pinkston@alliebeth.com | margie.harris@alliebeth.com