My visual landscape as a child was the inside of a lot of these old churches. And the Baroque drama of the things was what I was first engaging with artwise. I'm much more attracted to the aesthetic of religious iconography than the actual religious side. The passion and the blood and the violence and the gaudy side of it I find really fascinating.
Interpretation
The quote reflects the author's complex relationship with religious art, appreciating its aesthetic qualities over its spiritual aspects.
In this quote, Florence Welch describes how her childhood experience in old churches influenced her artistic sensibilities. She expresses a fascination with the dramatic and often violent imagery of Baroque religious art, indicating that while she is drawn to the visuals and emotional intensity, she does not necessarily connect with the religious messages they convey. This highlights the idea that art can evoke powerful feelings and thoughts independent of its intended religious meaning.
In practice
In a discussion about the influence of childhood experiences on art, this quote illustrates how personal history shapes artistic vision.
I love performing outside because it's as if the heavens are open and the elements become part of the stage show as well - you know, the wind and the rain and the thunder. It's almost as if there's a sense of invocation in performance.
I was a heavy heart to carry_x000D_ My beloved was weighed down_x000D_ My arms around his neck_x000D_ My fingers laced to crown._x000D_ I was a heavy heart to carry_x000D_ My feet dragged across ground_x000D_ And he took me to the river_x000D_ Where he slowly let me drown_x000D_ My love has concrete feet_x000D_ My love's an iron ball_x000D_ Wrapped around your ankles _x000D_ Over the waterfall
I don't want your future,_x000D_ I don't need your past._x000D_ One bright moment_x000D_ Is all I ask.
Music is my way out. I keep things locked up and never say anything. I guess in order to say something to one person, I have to sing it to a couple of thousand. It doesn't make for healthy relationships.
The stage is a place where I can be wholly myself. Even though you're in front of people almost to be judged, it is a place without judgement.
When something really hits me, it makes me want to either jump off something really high or lie down and be buried. I want people to get hit and caught by my music.
Simplicity is the keynote of all true elegance.
I have fallen in love with the imagination. And if you fall in love with the imagination, you understand that it is a free spirit. It will go anywhere, and it can do anything.
I'm happy that people think of me as the greatest tap-dancer that ever lived. But it's just a rumor. Because the greatest dancer that ever lived knows everything, and I don't. I'm still learning. I still have a lot of work to do.
An artist's saddest secrets are those that have to do with his artistry.
Bop began with Jazz but one afternoon somewhere on a sidewalk maybe 1939, 1940, Dizzy Gillespie or Charlie Parker or Thelonious Monk was walking past a men's clothing store on 42nd Street or South Main in L.A. and from a loudspeaker they suddenly heard a wild impossible mistake in jazz that could only have been heard inside their own imaginary head, and that is a new art. Bop.
When you have a reputation for making not only good songs but great albums, that in itself creates added artistic pressure. But, at the end of the day, I guess that pressure is something I welcome.
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