'I don’t go on Facebook. I’d end up watching weird cat videos all day. I’d go down a dark path.'
, his first American museum show in almost a decade. The exhibition features original digital and sculptural installations of some of his most memorable oddities and includes a 40-foot neon sign and a carousel of colorful seahorses. Many of the works nod toward Burton’s lifelong fascination with Las Vegas itself, a city as far-out as his own imagination.
BURTON: Yeah. You know how you have a memory of something and it’s not just a memory, but a feeling? That, for me, was these colored giant seahorses spewing water, and me looking up at them going, “Oh, my god, this is Vegas.” Then you see pictures of it later, and it looks like seahorses in a bad miniature golf course. I also remember that as a child, kids weren’t allowed into the casino. There would be these big, armed guards standing there.
FORTINI: You’ve said that some of your characters—Mummy Boy, Oyster Boy, and Stain Boy, for example, who are all in the show—are entwined with your memories of Vegas. How? BURTON: These characters are like dreams. They’re snippets of emotional memories. I always find a weird sadness here. It’s like when I used to wander around the Santa Monica Pier as a child. There’s something about these old, faded, seedy amusement parks that I’m attracted to, that made feeling lonely more dramatic.BURTON: Of course. I’m sure everybody does. I think everybody is alone. That’s how I felt, and then it just never really left.
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