John Currin

And, um, and then there's this kind of, um,

I think in my paintings a lot, there's a kind of a Mr. Potato Head version of masculine, you know, a man being sort of made from spare parts, you know, of nine different handsome men and slightly mismatched parts or...

And I wouldn't say... And I don't feel about it in the kind of way that people talk about gender now.

It's not really... To me, it's still sex.

And I don't think of... And I don't... And I personally kind of do believe that sex is not really constructed, that it is rather essential.

But...

But on the other hand, I'm fascinated with its construction as well.

The gender, the construction of it.

But I don't think about it in a political way.

You know, my paintings are filled with things that are really more about the construction of the perception of sex, which is gender, rather than, you know,

or rather maybe mixing a kind of essentialist Venus with then the construction that you see in, for instance, a clothing catalog.

It's not so bad being Clint Eastwood, I can tell you.

It's not a huge comedown.

I mean, I think, you know, really though,

There's another character in there, which would be like game show hosts from the 70s, you know, like one of these sad, like plaid jacket wearing game show hosts from the 70s.

Or like, I remember there was this guy named Gene Rayburn and he was this terrifyingly white teethed, white toothed, like.

sideburns and you know, like, like that's another thing that interests me was those, those men from the seventies that were like, that had just missed

that had just missed, you know, the youth movement.

Like they were a little bit, they were close enough to taste it, but they just, but they're like 40.

You know what I mean?