"In the paintings where it's there—the tenderness—I work for it. I'm not afraid of it. If I could put my bleeding heart in there, I would."
"In a general sense it’s the idea that the movement itself is a kind of mechanized regime that’s impressed upon the actors. And that part of the work is their struggle with it. A lot of that has ended up looking very percussive. It requires very quick transitions between one gesture and another, or often there’s no place for transition. It’s not that I’m trying to create a sense of suffering. That’s not something that interests me. It’s more that the content itself suggests oppressive cultural regimes to which I would like the movement to be analogous."
- Catherine Sullivan