and you re at a bus stop and you re both slumped as though you ve completely run out of energy. you look sort of befuddled and baffled. i come back to this point is that the way you are feeling today? you d make a very good art critic. i love the description of it. it s marvellous. but is that the way you are feeling? we are involved in thought transference. so, like a writer does words that will put thoughts and feelings into the readers, so these images have to transfer thought, things that you can t put into word, exactly, you can put in pictures. they re very delicate examples of human existence, things we all know. as we step out of the front door of number 12, fornier street, we re stepping not out into the east end of london, we re stepping into a french street built on a roman cemetery, which, when we were students, was the yiddish speaking district. we are five minutes from the dissidents cemetery. we have a mosque at one end,
to transfer thought, things that you can t put into word, exactly, you can put in pictures. they re very delicate examples of human existence, things we all know. as we step out of the front door of number 12, fornier street, we re stepping not out into the east end of london, we re stepping into a french street built on a roman cemetery, which, when we were students, was the yiddish speaking district. we are five minutes from the dissidents cemetery. we have a mosque at one end, an anglican church at the other end, the opium den that oscar wilde went to was on brick lane, thejewish all on brick lane. extraordinary world. i want to come back to what you said, gilbert, about the journey. and you always place yourselves in the centre of this journey you ve made, in the course of 50 years of creativity. if we were looking at some of your earlier works, on bbc television, we wouldn t
you look sort of befuddled and baffled. i come back to this point is that the way you are feeling today? you d make a very good art critic. i love the description of it. it s marvellous. but is that the way you are feeling? we are involved in thought transference. so, like a writer does words that will put thoughts and feelings into the readers, so these images have to transfer thought, things that you can t put into word, exactly, you can put in pictures. they re very delicate examples of human existence, things we all know. as we step out of the front door of number 12, fornier street, we re stepping not out into the east end of london, we re stepping into a french street built on a roman cemetery, which, when we were students, was the yiddish speaking district. we are five minutes from the dissidents cemetery. we have a mosque at one end, an anglican church at the other end, the opium den that oscar wilde went to was on brick lane, thejewish
we are five minutes from the dissidents cemetery. we have a mosque at one end, an anglican church at the other end, the opium den that oscar wilde went to was on brick lane, thejewish all on brick lane. extraordinary world. i want to come back to what you said, gilbert, about the journey. and you always place yourselves in the centre of this journey you ve made, in the course of 50 years of creativity. if we were looking at some of your earlier works, on bbc television, we wouldn t be able to show some of the words and images, because over the years, and people remember you for it, in the 70s, 80s, you focused a lot on taboo subjects. you know, i m thinking of the human body all of it, all of the orifices, all of the bodily fluids, of the faeces, the urine, the genitalia all in different ways were taboos that you put front and centre in your artwork. have you stopped doing that?