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Credit should be given to Petra Lommen unless otherwise indicated.
Quotes by Peter/Petra were drawn from a recent oral history about their life.
"And then they had, again, you had these reviews. And at the review, they would come up with all this derogatory stuff about LGBTQ people… professors… And David told me… how [George] Morrison* defended you and stood up, really threw a fit… on the issue of gender identity… that this was a sacred Native thing, shouldn’t be messing with it… The Natives have a certain kind of thing about transgender people have certain superpowers. You just don’t mess with them… He said, shut them all down. And that was it. I passed through any other problems."
"There was a controversy. I was doing too many polka dots. Victor Caglioti** said I was doing too many dots, the dots were a symbol of evil, and that I was the epitome of evil because I was doing so many dots."
"I made a poster with me dressed up on it… I said, "Oh, look, here’s me. This is me!"… The committee at school, like Tom Cowette†… said, ‘No, you can’t do that. You can’t put that poster out.’ But I said, why? He says, ‘You just can’t, because it’s too controversial.’ And then I said, ‘Well, we’ll see.’ And then I put it out, okay? And then it was a big hit, except for one guy that showed up, the one who beat me up."
"There was no security there. This was at the Katherine Nash Gallery††, and he was yanking down my paintings off the wall, you know, because he said they’re ‘sicko paintings’ by some ‘sicko faggot’… hauling them off the wall. And there was no security. So I had to end up kicking him out myself… grabbing him, slamming him up against the wall."
"That was at my graduate show… 1984… By 1984 I think for the LGBTQ community, I think it was getting really bad… the worst time period because of AIDS and prejudice… But the year before that it was like boom time… total acceptance."
"I recognized how important [being transgender] was for my art… in order to expand my view of reality, you know, that I was actually experiencing something that was really unique, and that artists had these unique experiences that they express… it’s content, you know, it’s subject matter. And I recognized that.”
"I love abstraction, I think abstraction is really cool, but I’m also hiding behind that when I do that."
"Now I look back and I go, 'Oh, I know why I did that. I know what was happening.' Some things I'll never talk about, because I don’t want the work to get pinned by that; I want it to be more open… I’ve always kind of tried to feel like I was keeping the artwork open for ideas for other people to plug things into, not just me."
"If you’re going to be an artist, you have to face up to what you do, and you’re going to have to face up to the fact that you’re this LGBTQ person… it’s going to be in your work whether you consciously put it in there or unconsciously put it in there."
“Mendota grade school is really cool. Yeah, that was one of my funnest times… And that’s, you know, where I got turned on to dinosaurs.”
“In my backyard, a stream bed, you know? I was digging up fossils, stuff like that. I made my own museum when I was about six or seven, yeah, showing fossils and my dinosaur collection.”
“It was this book that was read in kindergarten… [The Wonderful Egg, by Dahlov Ipcar]… At the end of the book, the egg hatches and out comes Archaeopteryx, the first bird… That just totally turned me on to dinosaurs. I became a dinosaur fanatic after that.”
“I think that there’s a weird metaphor there about how Archaeopteryx, when you talk about the LGBTQ people… Archaeopteryx kind of represents this sort of huge difference, you know, in the world of the reptiles. All of a sudden this creature shows up that’s got feathers and it’s really colorful… Even as a kindergartener, I probably saw that metaphor there.”
“My older cousin pulled out a Life magazine with Rudolph Zallinger’s mural from the Yale Peabody Museum. The Age of Reptiles just knocked me out—I could sit for hours staring at it, totally sucked in.”
“Everybody of a certain age in art or science was shaped by that Zallinger mural. Ask paleontologists what inspired them and they’ll say the Life magazine article with that mural.”
[When four or five years old of age] “I saw, like, in the attic… an antique vintage dress… black with all these beads, and it was like the starry night sky, and the stars and the sky… to me, it was the most beautiful thing I’d ever seen. I thought, Man, this is me.”
“Start seeing it in the stars, yeah… cosmology was representational. But yet as a abstraction, it was, like, super abstract… this super idea of infinite space along with this idea of just abstraction and arrangement… best of both worlds.”
*George Morrison (1919 - 2000) - Art Professor at the University of Minnesota
**Victor Caglioti (1935 - 2025) - Art Professor at the University of Minnesota
†Tom Cowette (1938 - 2015) - Art Professor at the University of Minnesota
††Katherine Nash Gallery - art gallery located at the University of Minnesota Department of Art
The Age of Reptiles - 1947 fresco mural by Rudolph Zallinger
The Wonderful Egg - 1958 children's book by American artist and author, Dahlov Ipcar.