Shadowing-Übung: (2021/09/24) Christie's - Kid A Mnesia Interview - Radiohead [Thom Yorke, Stanley Donwood] (Video) - Englisch Sprechen Lernen mit Video
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We specifically knew what we were doing.
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We specifically knew that eventually everything that we were going to do was going to be this shape.
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Other than that, we had total freedom.
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It's quite rare for a band to be as interested in their visual representation,
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as interested in the art that accompanies it, and to, you know, kind of commit to this guy who just says I'm gonna go big
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and I'm gonna paint with soot and knives.
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He was the guy at art college who could actually paint, they kicked me out.
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When I met him, first day, I thought, he sat there with a book and you're totally aloof.
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I thought, I'm really gonna hate this bloke, I'm only gonna end up working with him forever.
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One of the two.
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And then when we signed a record deal and first had to deal with the graphic designers and so on, I'm like, I can't cope with this,
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this is like a sort of manufacturing business.
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And then he phoned up one time and said, do you want to have a go at doing a record cover?
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And I thought, yeah, I'll have a go.
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And we bought a computer and we set about doing the bends.
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And that was it really.
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We just carried on from there.
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The idea of the record shop as a democratic,
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non-hierarchical art gallery where the art itself has no intrinsic value because it's just a printed piece of cardboard.
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It's something I really, really liked.
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After OK Computer Tour I was a bit ragged and I couldn't really do anything creatively.
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My partner Rachel said to me, you should just go back to your art, stop doing music for a while because it's kind of too loaded.
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We had this barn to work in that the barn had bought with all this success.
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Suddenly we were in this big space and suddenly painting seemed like a really, absolutely the right thing to do.
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Because everything we'd done to that point had been on a...
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You know, we had our Apple Mac set up and we had our posh scanner and shit, but it was just really dry.
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And I was like, right, we're not doing this thing anymore.
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use sticks and knives and we're going to lose our sleeves to make marks
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and do great big massive pictures as big as we can fit in on the walls here.
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I'll do my art crit sitting down.
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Oh yeah, that's a good idea.
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This is a painting that I did in response to certain distressing events in the former Yugoslavia.
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The Balkans had sort of fragmented people who looked like us, people who wore clothes like ours who watched telly had the same stuff.
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They were dying and being killed and putting each other in concentration camps
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and dragging each other along and wrapped in barbed wire behind tanks.
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It seeped in, you know, because you start off wanting to explore landscapes,
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started off wandering around Cornwall and the next thing you know there's snow-coloured landscapes, there's blood everywhere.
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I started using this white stuff.
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Ironically, it's the sort of decorating medium that you use to conceal defects.
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But of course, when it's wet, you can inscribe it, and you can throw things at it, and they'll stick.
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You can throw soot at it, throw gravel at it.
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What was nice of seeing him really get loose on canvas, and just letting rip and not caring.
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Yes.
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Otherwise, things like that happen.
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Oh dear.
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We were kind of like a bit crazy about keeping those sketchbooks.
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I've got loads of them.
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And a lot of the ideas that then found their way into paintings originated was just, you know, a doodle or a sketch or an idea late at night or something.
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We were finally free in a workspace that we'd built
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and set up ourselves to be exactly as we wanted wanted and we had no deadline so everything was informing everything.
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Most of them were done in a mezzanine above where the recording studio was.
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I dabbled.
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There's bits of your work but I've kind of almost completely...
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You pay no over them, I can't understand why.
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Bastard.
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I'm working on the artwork and what it will become while they're working on the music and what it will become.
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I was just in this space where there was just music happening all the time.
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I'd find it hard to look at these without hearing the music.
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It's kind of in them.
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It's encoded.
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So we would take these paintings and use them as the basis for the work we wanted to do, to give it this emotion that we were trying to express.
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But then you could use the computer, you could use the little thing, you could add in these elements that were previously impossible, they couldn't have been made.
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We were into sampling, we were into the idea of scanning, blah blah blah, building textures in real life
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and then pulling them into the computer and see what we could do with them on every level, which is why we had broken typewriter,
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which is why we'd scrunch it up and put it in someone's pocket and then flatten it out.
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All this is assembled, assembled,
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assembled, but at the same time it's all informed by this collage detritus kind of mentality,
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everything about it.
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It will be really great that people can actually see this work
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because it will be the first on this work's been able to be seen for what it is.
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This is us speaking and this is how we see style.
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And I'm proud of this period because this period of work was
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when we found a kind of voice through the artwork
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and it just developed into something exciting and something wasn't just for a record cover, it was something way beyond that.
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