Throughout the entirety of his career, Frank Ocean has solidified his standing as one of the great creatives of the twenty-first century. A recluse in his demeanor, the artist’s driven home increasingly compelling conversations in R&B and pop music alike, centered around creativity, sexuality, and the importance of identity through his few artistic deliverances.
Now, relatively fresh off touring Europe and the US with his intimate shows in support of Blonde, Ocean unveils a new visual document. Much like his 2017 counterpart to Blonde, a magazine entitled Boys Don’t Cry, Ocean shares an exclusive 32-page photo essay in Vice’s i-D. The pages echo the importance of the artist’s support-system and give thanks to those who aided in his realization and attainment of his creative dreams.
“You can answer a lot of questions with ‘Yes.’ But you can answer many more with ‘No.’ No is run of the mill. Yes is a gem. Whenever I feel alone I watch live television, something about it being okay on their end makes it okay on mine. Onstage one in-ear is my mic feed and the other one is a Tim Ferriss podcast. I go long periods without talking but I raise my voice when the people on the phone are in loud places. I’ve never given my fans nicknames because the ones I think of are embarrassing. I’m world famous. I had peace in my twenties. Big Pharrell praying hands those weren’t mutually exclusive. If you want to make your 30s sound appealing just mention ‘sexual prime.’ Re: the photos… as Karl Lagerfeld would say they ‘came to me in a dream.’ Summer two thousand and seventeen. We leaned into it. Bananaberry flavored candies at the bottom of the cup. I’ll never know why or what’s with campouts for Szechuan sauce at McDonalds. But I’m way into it. Issa Dreamworld. If you liked two thousand and seventeen then you’ll love two thousand and eighteen.” – Frank Ocean
Featured Image via Frank Ocean