![]() ![]() With its carbon-negative credentials, adherence to the rhythms of rural life, state-of-the-art recording facilities and mixing studios, 31-acre woodland surroundings and concrete and wood-clad minimalist spaces centred around a café fed by an organic kitchen garden – it all sounds rather utopian. Studio Richter Mahr seems Bauhaus in its vision: experimentation over expectation. The concept was 20 years in the works and was brought to life on a former alpaca farm and tractor shed in collaboration with Charlie Luxton Design and recording studio designers Level Acoustics and Studio Creations. In October last year, Richter and his partner, the artist and BAFTA-winning filmmaker Yulia Mahr, opened a multi-arts production studio and residency in rural Oxfordshire. Richter’s On The Nature of Daylight, from his 2004 album The Blue Notebooks (featuring Tilda Swinton reading Kafka and Czesław Miłosz and composed as a protest piece about the Iraq War) has made more than 20 different screen appearances, from Shutter Island to Eastenders. But many will have first come across Richter’s work through his extensive compositions for film and TV, including entire scores for Waltz with Bashir, Mary Queen of Scots, and Taboo (which won him an Emmy). The number of ways of being a visual artist has just exploded’, says Richter, who, alongside world-renowned concert performances, has worked across ballet, opera, fashion, theatre and visual art, including collaborations with designer Kim Jones (Dior), choreographer Wayne McGregor, and visual artists Julian Opie, Random International and Darren Almond. ![]() ‘I think visual art culture is wide open in a way that classical music, unfortunately, sort of isn't. Richter has positioned his art to be not only heard and felt, but seen. ![]()
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