"I first imagined these high-school-girl paintings when I was in my studio in Hoboken. I was so lost, and I didn't know what I wanted to do, and I wasn't living where I wanted to live, and nothing was going right. I remember writing down character studies for the girls in a notebook. I would think of colors, decide what time of day it was, and make a list of the character's attributes. At this time, I read the novel The Horse's Mouth [Joyce Cary, 1944], which had long, beautiful descriptions of the character making figurative paintings, painting feet, and I decided that I wanted to think about those kinds of things when I was painting. My paintings became about giving up on my abstract-painting persona and adopting a repressed vision of myself--very angry, but essentially nice. My expressionism is not violent, it's repression rather than rage. That's what I was trying to capture with these silent girls. Their style also seems non-Western--more like twentieth-century Chinese Communist paintings." John Currin, in Kara Vander Weg, Ed., John Currin, New York 2006, p. 56