Richard Gadd

That was beautifully done, I thought.

Oh, thank you.

Thank you.

It's an interesting one because I hear it back and I think...

When you said that, I guess I got a bit of a sort of like an internal jolt in a way of being like, oh, it's sort of, I guess it didn't quite work out that way in the sense that even though I know I did make a sort of culturally impactful piece of art, I have kind of learned since Baby Reindeer came out, I suppose that, you know, the journey for, I suppose, solace does come from the inside, from within in a lot of ways.

And I think if you do look for sort of external,

answers to internal pressures.

It never really quite pays off that way, I think.

But I'm still very proud that I did make a piece of art like that.

Yeah, it's like I'm damned either way, almost.

But yeah, I do sometimes question that.

And I certainly think like...

both these shows, you know, and indeed all my shows have kind of been born out of a sort of quite tormented place, I suppose.

And yeah, I do sometimes question that.

I often question like whether, you know, because sometimes like people have such bodies of work and as they get older, they seem to, I'm not going to use any examples, but like certain artists seem to, their work detaches from the public in a way.

And it's not as resonant as their earlier work.

And I've always questioned whether that's like,

comfort they've they've arrived at a certain comfort in their life because of their success because of their fame because of their potential wealth all these kinds of things i do often question does their art start to peter a little bit because they're now comfortable they're happy in a way so it's that kind of um existential question of whether an artist needs to suffer in order to do good work and i honestly don't know but uh

I guess it's just always been born out of my suffering in a way.

Does that make sense?