PB: This is James Brett.
JB: And this is Sir Peter Blake.
PB: And together, we’re the naughty boys.
JB: And this is the Museum of Everything. Third Exhibition, Exhibition number Three. Your first memory of collecting was… or not collecting, but of that kind of thing, in your life, was your grandmother.
PB: Yeah, I was evacuated during the Second World War to my grandmother’s house. There was a great absence of toys and things like that during the War, but my sister and I found a trunk which we opened, and it was filled with pre-War lead soldiers and tin toys, and we played with them, and my grandmother was furious because my dad’s brother, who had gone into the War and had no children yet, she was saving the toys for his children when they were born, and was upset with us that we played with them. So perhaps that was a kind of trigger of some kind, that later on, when it was possible to get toys or whatever, that I went slightly kind of crazy and just bought all the toys I could.
JB: For me, I was quite amazed how the choices you made when you would put things… combine things, almost like film editing, how they would become something else, and how two pieces of, two objects you discovered became something else in your hand.
I think also that we don’t explain it too much, as, you know, we’ve got your sort of dialogue on the wall, but it’s not made totally clear…
PB: No, we don’t want to be talking about it to this degree. You are walking in and you don’t know what you are walking through. And the actual wall explanations don’t tell you too much.
JB: Don’t tell you much. They are cryptic – and that’s good, because it forces you as a viewer to just get into it.
PB: The final form it has taken this year is very like Alice in Wonderland. You come in, you are disorientated, you turn corners into something you don’t know what’s going to be there. Around every corner is something, and you come out at the other end into that extraordinary room of the fairground models – suddenly, music starts to play, lights go on, the little models start turning, and you’re in this, again, dreamlike, crazy, wonderful room, and if you catch the show, as it were, that’s the end of it, you walk out back into Primrose Hill. And hopefully you’ve had a, you’ve been to Wonderland and your life is enhanced, and you’ve… and what I’ve always… when people say, why do you paint, what I’ve always said is, I try to make magic. Perhaps what we’ve done here is, we’ve made some magic.
End of recording