Still, her father's music and image were understandably "inescapable" growing up.
"I was around 15 when I realized he was inescapable," she says. "Even if I was in a car and had the radio on, there's my dad. He's larger than life. And our culture is obsessed with dead musicians. We love to put them on a pedestal."
"If Kurt had just been another guy who abandoned his family in the most awful way possible . . . But he wasn't," she muses. "He inspired people to put him on a pedestal, to become St. Kurt."
Frances poses for the magazine in what's sure to be a controversial pic -- her left wrist is slit -- and the visual artist also shares that her father's bandmates see him in her.
"Dave [Grohl], Krist [Novoselic] and Pat [Smear] came over to a house where I was living," she recalls. "It was the first time [the ex-Nirvana members] had been together in a long time. And they had what I call the 'K. C. Jeebies,' which is when they see me, they see Kurt. They look at me, and you can see they're looking at a ghost."
"Dave said, 'She is so much like Kurt,'" she remembers.
Frances calls the upcoming HBO Kurt Cobain doc Montage of Heck, which she executive produced, "emotional journalism."
"It's the closest thing to having Kurt tell his own story in his own words -- by his own aesthetic, his own perception of the world," she shares. "It paints a portrait of a man attempting to cope with being a human. I told [director Brett Morgan], 'I don't want the mythology of Kurt or the romanticism.'"
Obviously, the notoriously private Frances still feels the loss of not growing up with a dad. She was only a year old when her father committed suicide.
"Kurt got to the point where he eventually had to sacrifice every bit of who he was to his art, because the world demanded it of him," Frances says. "I think that was one of the main triggers as to why he felt he didn't want to be here and everyone would be happier without him. [But] in reality, if he had lived, I would have had a dad. And that would have been an incredible experience."