Cibachrome, lackiert auf Aluminium. 76 x 102 cm.
vgl. Ralph Rogoff, Kristine Stiles und Giacinto di Pietrantorio, Paul McCarthy, London 1996, S. 126-127 und S. 130-131 mit Farbabb.
McCarthy äußert in einem Interview zu Heidi: "There were two worlds - the mountains and Heidi versus Frankfurt and this Hollywood Shirley Temple character. Grandfather, Heidi and Peter become this sort of dysfunctional family in a rural setting. In American horror films, your car runs out of gas in the middle of the woods and you go to the farm house where this crazy inbred family cuts you up. There is this fear of rural life. In Switzerland, you run out of gas and you really do meet Heidi, this sweet young girl or this sweet grandfather who takes care of you. Heidi becomes americanized in a sort of dysfunctional horror film. In the early 80s I kept talking about the idea of making a movie of the story of Heidi, and people were shocked by this idea of placing this little girl into these worlds I was creating. They laughed nervously; it was funny but then it wasn´t funny. Then I began to think about Heidi as a moral tale that was written during the beginning of industrialization..." (Paul McCarthy, in: Ralph Rogoff, Kristine Stiles und Giacinto di Pietrantorio, Paul McCarthy, London 1996, S. 130).