Mary Cleary is a writer based in London and New York. Previously beauty & grooming editor at Wallpaper*, she is now a contributing editor, alongside writing for various publications on all aspects of culture.
Miranda July in The Swan Tool, 2000, Portland Institute of Contemporary Art, Portland, Oregon. Photo by Harrell Fletcher Courtesy of Miranda July Studio, there is a short blond wig hung up on the wall, which July bought when she was a struggling artist working as a stripper for extra money in her twenties. There’s no mention of it, but it is displayed as one of the costumes from her performance.
Following the show’s opening, we sat down with July to discuss how it felt to revisit her earlier works, a new piece, W*: How did it feel to go back into those boxes and return to all these things you probably haven't looked at in a while?You know how when you're going through old things, old pictures or letters, and it’s like you're stuck in molasses or something? You start reading and you just lose time. But we were on a tight schedule, so I couldn't do that. So I'd be trying to hand Mia relevant things as I went through the boxes.
I haven't really said this, but that first wig, that's now on the wall, I had because I was also a stripper. I worked at a peep show. And so, it was the same wig as ‘Penny’ who was in the peep show. So, I look at that wig and I'm a little like, ‘Oh god, I literally made my money in that way.’ I remember being that age and thinking, ‘Well, I can use it for this performance too’, because my hair was always punk and I wasn’t going to make any money .
The fact that I never did it in theatres that held more than 200 people meant that I always knew that the tickets would sell quickly, and that the people that would buy them would be my biggest fans. I also knew that because they were my fans, a certain percentage of them probably played piano. One thing I have just realised is I'm so happy in my internal world, my fantasy world, which is also my writing world, that for me to do something in the ‘real world’ I need really high stakes.
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