Since the release of her groundbreaking debut album “LP1” [2014] showcasing her unique genre blending of R&B and experimental electronica, to her last single in 2016 for “Good To Love,” Tahliah Barnett known as FKA Twigs has musically been in the shadows for 3 years. However, a 3 year break from music is well justified due to Twigs undergoing laparoscopic surgery in 2017 to remove 6 fibroid tumors from her uterus. Twigs’ surgery affected her both physically and emotionally as seen in her Instagram post where she shared how, “I started to doubt if my body would ever feel the same again,” yet within that 1 year gap of recovery Twigs proved that adversity was no match for her strong psyche. 

Dedicating all of her time in 2018 to learning the art of pole dancing, Twigs’ recovery process allowed her to get in touch with her body again and challenge herself as an artist. The main challenge to learning pole dancing was mastering it in order to incorporate it into her narrative idea for a music video. Thus, after a year of consistent practice, “Cellophane” was born last month. 

In essence, “Cellophane” serves as an embodiment of all of Twigs’ hard work in transforming her vision into a reality. The “Cellophane” music video feels like watching short film instead of a 4 minute music video. Needless to say “Cellophane” will be considered another work of art to add onto Twigs’ assemblage of cinematic music videos. Acting as the director for all her music videos, Twigs has stated the focus behind all her videos is to create feeling in: “I know when I feel something and when I don’t and that’s always my drive.” Consequently, the “Cellophane” music video transports the viewer to a surreal dreamscape where heartbreak and beauty or wrapped together. 

Immediately, the video seizes the viewer’s attention with the crisp skimming of Twigs glass heels against the floor as she elegantly crawls and demonstrates her flexible choreography. The feeling of emptiness is evident as seen in the fake audience cheers alongside Twigs’ blank facial expression as she conducts a show with her pole dancing routine. As her movements become more fervent, the video shifts into a dreamlike narrative seen in the mirroring of her movements and the pole ascending into a divine atmosphere. The sense of heaven is conveyed through the silk curtains dissipating at the top of the pole and through the mystical flying sphinx-like creature that awaits Twigs. The interaction between Twigs and the creature that oddly seems to represents herself alludes to the Michelangelo painting, “The Creation of Adam,” but instead of their fingers touching the creature devours Twigs entirely. 

For the rest of the video Twigs is essentially free falling into the unknown with the chaotic contrast of her sliding down the pole and reaching out for a nonexistent hand to grasp onto. Emotions of pain, hopelessness, and loneliness are evoked in Twigs’ freefall as the once silk curtains are now replaced by darkness and Twigs no longer has control of her movements. However, the narrative of the video takes a twist when Twigs finally lands on a ground of red clay where a tribe of women similar to the creature greet her and cover her body with clay. Metaphorically, the end of the music video feels like Twigs has obtained acceptance with her sense of self seen in her serene facial expression as the women take care of her. It can be inferred that the clay and the women allude to the overall message of how figurative old wounds can be healed by overcoming the past.

Though Twigs purposefully leaves her music video narratives open for interpretation, needless to say Twigs has returned back into the music limelight with a song and video of pristine quality. Opting towards showcasing her chilling octaves alongside a slow piano ballad, Twigs has given her listeners an entirely new vulnerable and intimate side of herself. The evident craftsmanship put into every detail of the video, alongside the fact that she spent an entire year perfecting pole dancing for the video showcases how impressive FKA Twigs dedication to her work is. Thus, if  “Cellophane” is Twigs way of giving us a glimpse into more music and videos to come in 2019 upon the release of her second album, MAGDALENE, then it can be safe to say that there’s a lot to look forward for.