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[✩ @technomeloetta]

gisele bündchen photographed by vincent peters for big magazine 1999

[¡Holy Guacamole! @Giba_Giba]

Keith Haring curtindo uma brisa na Bahia
1984

[َ @letmefeedonyou]

marie antoinette (2006)

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vick e sofia

[björk brasil @bjork_brasil]

🏳️‍🌈 Björk e Monace, musicista islandesa de metal, estão em um relacionamento 💞

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https://t.co/6c85epSj6s

[Alquimia @Replicante97]

La guarida del gusano blanco (1988) dir. Ken Russell

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let’s get unconscious, honey

[HARDEST FIT PICS @HardestFitPics]

Daft Punk in Dior by Hedi Slimane (2006)

[Bella Doll 🏳️‍⚧️ Wor$t Doll In JPA @clonazedoll]

To fascinada com essa matéria antiga
Apocalipse gay que lindo

[Jïuliette @GiulietteR48567]

Roda de capoeira, Maciel, Salvador da Bahia, 1979 - Miguel Rio Branco

[َ @8irth]

david beckham wearing jean paul gaultier spr/sum 1998 'hommage à frida kahlo' sarong, gifted by victoria beckham.

[Cinema Gems @CINEMAGEMS]

The Doom Generation (1995)

[björk @bjork]

i wanted to tell you how we made the visuals for nerve-bloom
i did it with Natalia Kleszczewska and Natalie Liu .

Natalia Kleszczewska is a painter , she painted the creatures and the backgrounds .
Natalie Liu is a computer graphics director , she shaped the digital dimension of the work .
my role in it was a creative director , bringing in the singer-songwriter tradition , where emotionally precise things happen inside the structure of a song . i guided colour pallettes , textures and the environments the music happens in .
to make this possible , during the process , natalia often had to paint many shapes and sizes , different textures and layers of colours . natalie then developed the visuals, designing and overseeing CGI elements , and finding ways for the digital to sit organically alongside Natalia’s world . and include my dramaturgy and creative direction.
we spent 7 months talking and working together , dedicated to relish in the craft of blending hand-made visuals with digital experimentation , 3D design and commit it to physical display technology . a lot of time was spent on researching different tools and techniques to find what worked best at each stage in the song .
like i’ve done before , i wanted to merge old things with tech , giving it soul & a meaning .
to paint a painting is an analog craft but computer programming is craftmanship too !! and both can co-exist ,
.....encouraging each other to bloom even further towards a mutual world .

there is a tradition in pop music for the mucisian to choose a video director . in the art world , this is called “curation” , but where we came from , it was natural that the musician would have strong opinions on what your song needed , which mood , colours , textures & storyline . today this is called “creative director” and it is something we didn’t credit ourselves with in the 90s , but i am starting to understand this better now .

i don´t think of me as a visual artist . because my heart is music . everything i do comes from a sonic point of view .
this is something i have called “sonic symbolism” , sound made visual , a reverse synesthesia .

when you listen to a song for the first time , it is like swallowing a whale , you need to feel the whole musical sculpture in one go .
the structure of a song has always been extremely important to me : what shape it is .
this is part of the craft of being a singer-songwriter

........... we are tune sculpturors .......

since i am talking about the visuals for nerve bloom it is impossible to not mention the avatars in my music videos .
they have replaced the storyteller with anattempt to connect to the more universal element of music , through animation, avatars , puppetry both digital and analog .
for me they are marionettes in a puppet-theatre , hopefully in a similar realm as the jungian archetypes
( which we all can act out the characteristics of ...)

.... i feel nerve-bloom is a natural continuation ....

an animated avatar archetype

singing you a song

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Avatars, animation and archetypes: Nerve Bloom (remix) – on display at Listasafn Íslands / National Gallery of Iceland until September 20th 2026.

The production of this film was made possible with the generous support of #bottegaveneta.

[✩ @technomeloetta]

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