"But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that"
About this Quote
There is a quiet betrayal baked into Ferry's confession: not of painting, exactly, but of the version of himself that could afford to make art with no audience in mind. "Completely" lands like a slammed door. The sentence isn't nostalgic so much as transactional, a clear-eyed admission that once songwriting became the engine, everything else had to justify its place on the invoice.
The phrasing is tellingly bureaucratic: "the only art things I do" makes painting sound like a hobby you outgrow, or a department you shutter. Then comes the narrowing qualifier - "connected to the career" - where "career" stands in for the entire infrastructure of modern music: labels, branding, photography, merch. He isn't claiming purity; he's outlining a pipeline. Visual art survives, but only as an extension of the product: sleeves, posters, "things like that". That last phrase shrugs off the romance people want to attach to it, the way fans insist the album cover is a sacred object rather than a marketing surface.
Context matters here: Ferry came up through art school and Roxy Music's early appeal was inseparable from design, fashion, and image. This line punctures the myth that the musician is a free-floating creative. It suggests a more uncomfortable truth about pop modernism: once the music becomes work, every other medium gets annexed into the brand. The subtext isn't regret so much as recognition that the market doesn't just sell the art; it reorganizes the artist.
The phrasing is tellingly bureaucratic: "the only art things I do" makes painting sound like a hobby you outgrow, or a department you shutter. Then comes the narrowing qualifier - "connected to the career" - where "career" stands in for the entire infrastructure of modern music: labels, branding, photography, merch. He isn't claiming purity; he's outlining a pipeline. Visual art survives, but only as an extension of the product: sleeves, posters, "things like that". That last phrase shrugs off the romance people want to attach to it, the way fans insist the album cover is a sacred object rather than a marketing surface.
Context matters here: Ferry came up through art school and Roxy Music's early appeal was inseparable from design, fashion, and image. This line punctures the myth that the musician is a free-floating creative. It suggests a more uncomfortable truth about pop modernism: once the music becomes work, every other medium gets annexed into the brand. The subtext isn't regret so much as recognition that the market doesn't just sell the art; it reorganizes the artist.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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