Peter Gabriel – o\i – The Artwork

Once again, Peter Gabriel has accompanied each track on his new album with a work of art. This follows the same principle as on i/o. Once again, suitable artists and works of art were sought out worldwide – though the works were not always created specifically for the song.

Gabriel feels a strong connection to the visual arts – whether paintings, sculptures, or photographs. He loves it when there is an exchange, a dialogue between his music and other forms of expression. He has long been inspired by interdisciplinarity. In the case of album artwork, he has also liked to draw on material from the field of science.

Here we present the 12 artworks for o\i, the artists, and some background information.

1 – Janaina Mello Landini: "Ciclotrama 156 (palindrome)" for Been Undone
2 – Tomás Saraceno "Cosmic Spider/Web" for Put The Bucket Down
3 – Judy Chicago "Birth Tear/Tear" for What Lies Ahead
4 – Tatsuo Miyajima "Warp Time with Warp Self No. 2" for Till Your Mind Is Shining
…

overview of the o\i article series

---

Release #1 from January 3rd, 2026: Been Undone

The Track

Been Undone is a rather quiet song that enumerates a bitter, long list what has ruined or destroyed in life. However, Gabriel also says that he actually sees these negatives in a positive light. Because you also learn from difficult and painful moments in life – often the most.

And so the song continues with an optimistic "just listen and feel." And at the end, even "and I feel it in you, you feel it in me." So the sombre conclusion is that you can feel something after all – in others, in yourself.

The Artist

Janaina Mello Landini (born in Brazil in 1975) initially studied architecture, then fine arts; her work also incorporates insights from physics and mathematics.

She initially worked as an architect for ten years, then designed stage sets and costumes for theater productions and films between 2003 and 2006. In 2013, she moved to São Paulo to devote herself exclusively to her art. She still lives and works there today.

In 2010, Landini began experimenting with space, using threads, nails, and knots, twisting and tension. She now works almost exclusively with strings and ropes, which she weaves and knots into wall hangings and expansive webs. Many of them resemble roots, branches, and trees. They are also reminiscent of lichen growth or the structures of blood vessels.

Basically, thick ropes are divided into individual strands, which are then split again into smaller strands, and so on, down to the basic individual fibres. Landini arranges these increasingly branching structures into patterns with a wide variety of outlines. And depending on the situation, one can also see the process in reverse, with the thinnest fibres connecting with each other, continuing further and further until they form thick strands.

Her work is characterized by skilled technique, often taking months or even years to complete. She frequently draws on the Fibonacci sequence and other patterns found in nature, contrasting the rigid logic of artificial structures with the wisdom of organic forms. She seeks to explore themes such as connectedness and interdependence, time, and diversity.

Landini's objects have been exhibited in Brazil, France, the Netherlands, the United States, and the United Arab Emirates. Her works were on display at the Palais de Tokyo in Paris in 2016, at the Château de Chaumont-sur-Loire in 2019, and at the 13th Mercosul Biennial in 2022.

Her website provides a comprehensive insight into her work.

The Artwork

The first artwork for the album is called Ciclotrama 156 (palindrome), measures 138cm x 138cm, was created in 2019 and consists of handmade green cotton rope on linen.

Two separate fabric panels spread out in semicircular, highly branched structures. Both extend toward each other, and there is a knot at the connecting center. In a sense, it is the center of everything.

The title Ciclotrama combines the word "cycle" with the latin word "trama" (meaning "chain" or "weaving"). The additional designation palindrome refers to the mirrored arrangement, which allows the work to be "read" forwards and backwards.

At the moment, Landini's existing piece has been selected for Been Undone. But Gabriel is delighted to announce that another work, created especially for the track, is to follow.

The Connection

Gabriel finds several connections to his song in the depiction: the theme of knots and entanglement or disentanglement, the thread that either does us up or undoes us, perhaps also the thread of life in general. He also recognizes something like brain hemispheres. This fits in with his current theme of the brain project, to which he adds the song Been Undone.

He probably also likes the exciting connection between technical precision (he also sees fractals here) and natural, organic structures.

Fun fact: Gabriel pronounced the name of the upcoming album also as "Oi". This is a greeting in Brazilian Portuguese, similar to 'Hi'.

---

Release #2 from February 1st, 2026: Put The Bucket Down

The Track

Gabriel says that the bucket in Put The Bucket Down is full of the crap that goes around our head all the time. To find your way forward, you have to put it down.

Gabriel also says that he is fascinated by the idea that it might be possible to read and write human thoughts. However, he also sees the dangers of invading privacy or transplanting foreign ideas. And that the whole process is likely to cause enormous confusion. The song is about this confusion. The person singing is uncertain because she does not know exactly what she is experiencing. Whether her thoughts belong to her or to someone else.

The Artist

Once again, the creator of an o\i artwork comes from South America. Tomás Saraceno was born in Argentina in 1973 and studied art and architecture in Buenos Aires and Frankfurt. In Italy, he took part in a course taught by Olafur Eliasson (who also contributed a work of art to i/o), among others. In 2009, he also participated in NASA's International Space Studies Programme.

Saraceno's themes are fundamental natural structures and their status in the technological world. With his nature-laboratory aesthetic, he is quite close to the work of Olafur Eliasson. He has already explored emission-free flying, built floating greenhouses out of helium balloons, laid ropes through rooms that produced ambient vibration echoes when touched, and constructed landscape objects with a technological-aesthetic appearance that stand in nature and interact with it, for example by serving as habitats for birds and insects.

And he keeps coming back to spiders. He even has his own website about them, which includes a mobile app for interacting with the vibrational senses of spiders. Saraceno has repeatedly used these animals to create objects that trace cosmic structures – or has meticulously recorded spider populations in exhibition buildings (and not removed spider webs during the exhibition period).

Gabriel says he first encountered Saraceno through the Aerocene project, an interdisciplinary community of artists that seeks to highlight new forms of ecological sensitivity and raise awareness of the atmosphere and the environment.

Saraceno has lived in Berlin since 2001.

His website provides a comprehensive insight into his work.

The Artwork

The work provided by Saraceno is called Cosmic Spider/Web and is not actually the artwork itself, but a photograph of it. It shows a partial view of an installation that Saraceno created with the help of spiders, which had woven webs along metal elements throughout an entire room.

This installation was called Weaving The Cosmos and was on display in 2019 at the Milan Planetarium. The spider webs floated under the dome of the planetarium and looked like galaxy systems. Thanks to a sound system, visitors could also hear the vibrations of the spiders in the web. Saraceno was inspired by the similarities that scientists have found between the thread-like structure of the cosmic network and the intricate web of spider webs. Details and some photos of the installation can be found here.

For those who are interested: involved were five specimens of the genus Cyrtophora citricola, a single Nephila senegalensis and six Holocnemus pluchei.

The Connection

Saraceno listened to Gabriel's song and then found this image fitting and selected it. Gabriel, in turn, found the shapes of the spider webs fascinating and beautiful. He sees a connection between them and other shapes in nature, as well as to perceptions that the brain is capable of. That's why the image suits him too.

So perhaps what is represented here is less the content of the song about the confusion caused by thought transmission and more the idea of brain networking as a whole. Its cosmic size, its fascination, its light and shadow.

Also remarkable in this context is that there is a species of spider named after Peter Gabriel: Umidia gabrieli, a species of trapdoor spider from Baja California described in 2021. The tour book for the i/o Tour notes that this species of spider has some similarities with Gabriel: for example, it has little hair – at least on its legs…

---

Release #3 from March 3rd, 2026: What Lies Ahead

The Track

The third o\i song, What Lies Ahead, takes a rather detached look at all inventors, all visionaries who look creatively to the future and tirelessly try to shape it. This has a spiritual aspect because it involves creation, but it also has a laborious, exhausting side.

Gabriel says that, through his father, an electrical engineer and inventor, he witnessed how frustrating it can be to have good ideas but not be able to bring them to fruition. Nevertheless, he concludes the song with the sentence: "What lies ahead is forming in your hands."

The Artist

In 1939 Judith Sylvia Cohen was born in Chicago and adopted later in the 1970s the pseudonym Judy Chicago. She had already made a name for herself as a pioneer of feminist art and art education, becoming highly influential in the process. She graduated from the University of California, Los Angeles, with a degree in painting and sculpture, then went on to teach herself at Fresno State College, the California Institute of the Arts and several other institutions.

One of her significant works is the installation The Dinner Party (1974-79), displaying 39 elaborately arranged place settings on a triangular banquet table and celebrating well-known women from mythology and history. From 1985 to 1993, she worked on her Holocaust Project: From Darkness into Light, which combines sixteen large-format works in various media (tapestries, stained glass, metalwork, woodwork, photography, painting and sewing). They are intended to examine the genocide of the Jews, but also themes such as victimhood, oppression, injustice and human cruelty.

In 1972, Chicago co-organised one of the first feminist art exhibitions, Womanhouse. The focus was on women's housework as a parody of social stereotypes. The aim was to highlight female experiences and actively promote female art.

Chicago's central theme is the absence or even erasure of women in Western cultural history and the need to oppose this. She has been exhibited internationally (currently at the Joods Museum, Amsterdam) and has received numerous awards.

Judy Chicagos Website provides many insights into her decades of extensive work.

The Artwork

Chicago created her Birth Project between 1980 and 1985. Paintings and needlework explore different aspects of the birth process, its magnificence and its violence. Around 150 different women participated in the creation of the individual objects. The work for What Lies Ahead is part of this project and is called Birth Tear/Tear (1982, embroidery on silk, 52 x 70 cm). The design is by Chicago, the execution by Jane Gaddie Thompson.

Intricate ornaments in dark red reveal, only at second glance, the depiction of a woman with a wide open vulva. A birth is shown, the agonising and painful aspect – with the woman's face contorted in an enormous scream. The title Birth Tear/Tear is choosen carefully. The embroiderer Thompson, however, is delighted that the umbilical cord in the image is "round and gently twisted, full of magic and life".

Finally, it should be mentioned in a subordinate clause that the illustration is the first in the series of artworks for i/o\i in landscape format. This makes the graphic appearance stand out somewhat.

The Connection

Gabriel makes it clear that no man will ever have an understanding what it really means to give birth to a child. That is why Birth Tear/Tear and What Lies Ahead are completely different in terms of the dimension of suffering and pain that is portrayed. It is also about a completely different way of bringing something into life. Nevertheless, there is actually a strange connection between the image and the song. Gabriel: "Giving birth to an idea has many (less painful) parallels."

---

Release #4 from April 2nd, 2026: Till Your Mind Is Shining

The Track

Gabriel says that Till Your Mind Is Shining is about "opening up the mind" and "going into it". It's about the possibility of using modern technology to complete several years' worth of learning in a shorter time, and thereby – as Gabriel hopes – making decisions in a more responsible and compassionate way. The lyrics are actually a series of light-hearted descriptions of a rapid flow of data or thoughts.

And so, taken as a whole, the track radiates a certain enthusiasm and cheerfulness; it comes across as a bit eccentric at times, yet remains consistently laid-back – and is, for all these reasons, also somewhat unsettling.

The Artist

The Japanese sculptor and installation artist Tatsuo Miyajima was born in 1957 and studied painting at the Tokyo National University of Fine Arts and Music, from which he graduated in 1986.

Soon afterwards, he began experimenting with performance art before moving on to light-based installations. His work centres on time and its passing. Digital displays almost always form the centrepiece, alternately showing the numbers 1 to 9, but never zero, which for Miyajima represents stagnation and death.

He explains that he draws inspiration from Buddhism. For him, the ticking numbers are associated with inevitability, universality and mortality. "I am making installations which experiment with different systems of time. There is no absolute length of time, only a personal rhythm." Three concepts are of central importance to his work: "Keep Changing", "Connected with everything" and "Continue forever".

Miyajima has since used his number sequences in numerous objects, projected them onto house walls or painted them as images. Gabriel also notes: "He first came to prominence in 1988 when he was invited to the Venice Biennale, in the young artist's section, where his works using digital numerals attracted international attention. Since 1996, he has also been promoting the Kaki Tree Project, an art project that promotes peace and the importance of life through the planting of saplings taken from a kaki tree in Nagasaki which miraculously survived the atomic bomb."

Many impressions of Miyajima's work and his conceptual ideas can be found on his website.

The Artwork

The artwork for the song features a photograph of a constantly changing wall-mounted object. It was created in 2010 and is titled Warp Time with Warp Self No. 2 (LED, IC, electrical cable, mirror glass, steel, 105 x 150 x 15.5 cm). What can be seen is a reflective surface that is not entirely flat, and therefore distorts the surroundings, and does so not always in the same way (depending on where and how one stands). Placed on this surface are 70 light-emitting diodes, on which the numbers 1 to 9 appear in irregular order. Each photograph of the object therefore shows only a snapshot in time. An alternative view can, for example, be viewed on a gallery's website here.

The designation "No. 2" also indicates that this concept exists in various versions (at least nine). They differ in size and layout.

The Connection

Gabriel likes the mix of cold and structure, as well as soft and self-reflective, in the chosen artwork. "I love that it feels quite futuristic in one sense, with numbers and data and yet you've got this 'warp self' in the background." He is likely referring to the reflection in the surface, in which the viewer always sees themselves slightly distorted. For him, this creates "an interaction between humans and the mechanical AI world."

For him, both the artwork and the song say something about "where the shining mind should lead you and what that is there to counter".

The opportunity to pair the track with Warp Time with Warp Self No. 2 definitely felt just right to him.

---

Author: Thomas Schrage