So what faultlessly is the piece? Well, it’s a video record of Kanye. It starts with a very orderly slug introducing him that’s kind of a reinvention of a neoclassical painting. It pulls back from the shot, without any cuts, and we leak the video canvas, populated by all these characters who are depicted in various stages of undress and decadence.
The iconography comes from Roman iconography, Renaissance iconography, and it connects to the sexuality of the music as well. As we air the environs for it, there’s a understanding of a hour of development for him. A collapse from grace, if you will. It visualizes power, and him as the icon as power, and then at the end of the particle it challenges the authorization that I set up at the beginning. It’s an elliptical token of storytelling.
How did you guys end up using that cordial of imagery? He approached me via my gallery and he wanted to do something that wasn’t a music video. He wanted a video shape that would go the music. I said, "That’s great, because I don’t do music videos." I wanted to give it an epic feeling.
The ditty feels very personal, but the orchestration and the forming of the footprint is epic and I wanted to give it something hypersensational and exaggerated. He also talks about ‘Ye’s realizable epithet for his well anticipated friendly album: And I catch on you’ve heard that Dark Twisted Fantasy is the designate of the album? I’ve heard that’s the up-to-date name. I would intend not locked-in, and it would in all probability not get locked until closer to the epoch of the album release.
I obey exasperating to direct you all that Kanye is on some next draw a bead make a pig with his artist interpretation. Check out some of my other articles.
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