Expression through tangibility.
A chat with Linda Meli.
Back in August 2021, I was in the middle of designing the latest Dee Dee’s Picks release Mario Scherrer: Squares and Crossings. Since it was technically a reissue of what was supposed to be a series of releases by Calypso Now in the eighties, I figured it would be better to redesign the artwork to become more appropriate to Mario’s vision since we already came up with a new album title. Therefore this was my first endeavour of working with a Swiss graphic designer, which led me in having the opportunity to work with a very talented Bernese artist to rebirth the physical appearance of the album, whilst preserving its vibe and past authenticity.
Linda grew up in eastern Switzerland. Her artistic path is self-driven; her motivation to pursue the arts was supported through her environment comprising of creative people and her passion in expressing herself through drawings and stories. Steady and determined, Linda eventually landed a job at a graphic design agency in Zurich, where she worked for several years. There, she was able to live her creative life surrounded by wonderful, warm colleagues. Up until recently, Linda pursued her artistic path at the academy of arts in Bern, where she is soon to become an alumni.
Today, Linda can be found sitting down in her quiet little pink kitchen in Bern with a fresh cup of coffee. Her studio is modest but her line-up of projects is impressive, spanning posters, album artworks, paintings and ceramics, all seen through the dual lens of her wide-opened French Doors, illuminating her works as a natural spotlight. Despite being a very active artist, Linda was kind enough to give me a bit of her time while she takes a break. In this extended interview, we talked about how she got into album cover design, what inspires her work and the joys of making tangible art in an old school fashion.
“My path has never really been straight, I‘ve taken a lot of detours slowly towards where I am now. When I think back, I guess I needed all the intermediate steps for my personal development. I had to fight my way out of a work environment a few times that didn‘t do me any good.”
What were you working on prior to doing this interview?
Right now, I am surrounded by small books that I still have to finish binding. Yesterday I was folding and stitching until two o‘clock in the morning, a very nice job I think. The illustrated story is about a friendship between a dog and a migratory bird. About missing beloved creatures and empathy.
How would you describe the art that you make?
As you can see I have a passion for different creative fields and am always surprised where my experiments take me. I work figuratively, whether in ceramics or when I paint and illustrate. I also can‘t stop myself from telling stories, even if it‘s just a snippet. I like it when people make up their own narratives when they look at my paintings, for example.
Where do you draw your inspirations from?
I prefer to work illustratively and always at least partly analog. I‘m actually quite old-fashioned in my approach, if you will. Since I‘m not a big fan of digital brush strokes, I spend a lot of time at the scanner. So I also think that in general I‘m actually mostly inspired by painters. I also grew up with a lot of picture books, which I loved. Now I try to illustrate stories myself. Or to the lyrics of musicians whose (humorous) words I enjoy. So music is a big creative influence as well. I also really like the work of some Swiss illustrators from the 50s/60s. They made some great book and LP covers. I have also always been fascinated by the countless music (mostly jazz) posters by Niklaus Troxler. I also like old folk art, little figurines and strange, fragile knickknacks. And of course I relate most to art of all kinds when it comes from beloved friends. I‘m sure their passionate creative work has an impact on my own work. What also always inspires me is a change of place (even for a longer period of time) and the discoveries that come with it.
What other media inspires you? Is there any literature or film that you're into?
Yes, definitely. You always memorize impressions, no matter what medium you‘re dealing with at the time. I can‘t remember all the movie titles, but I have an endless library of visual fragments in my head that have stayed with me and accompany me. Right now, when I look out the window and watch the wind in the leaves I have the fantastic final scene of Kiarostami‘s “Through the Olive Trees” in my head, whose films I love. I am usually a rather slow reader, but always have a book in my bag. As a child and teenager, I read every spare minute.
Are there any Swiss artists whose work you find particularly inspiring?
Yes, many, especially when I know the people personally. The artistic expression of friends and loved ones I always find very touching and inspiring. I once had the chance to visit an exhibition of the photographer René Groebli, whose work I like very much. The best thing about the exhibition was that the (already very old) photographer was present, told his stories with a lot of charm and wit and so brought me even closer to his work.
Which are your favourite galleries in Switzerland?
My absolute favorite is the Collection de l‘Art Brut in Lausanne
How do you evolve your aesthetic and better your skills as a designer?
I think one is always evolving. I can' t stand some of my old work anymore. I would say you should always have your eyes open and find your own specific way to express yourself. And don't forget to exchange ideas from time to time. That way you don't get lost in your own work and it's often helpful to hear another perspective on your work.
Do you need a certain atmosphere to work in--a home office, say--or can you do your work anywhere, especially when using a laptop?
When I work on the computer, I prefer to be at home, where I can spread out undisturbed. I don‘t like to be surrounded by people looking at my screen. I live in a very small, charming old apartment in Bern and use every centimeter it gives me. At my kitchen table I work with clay or, as now, on craft projects. At my table in the bedroom I illustrate or work on the computer. Next to it on the wall I have set up a place to paint and on the floor between them I also often paint. I love to be able to work so freely in peace and quiet, even in a rather confined space. My apartment is my studio. For the moment at least.
What’s the process when making your art?
If I don‘t have a specific job to do, I just decide by feel. Sometimes I work all day on some little thing and suddenly I start painting, often until very late. When I paint or work with clay I have no sense of time anymore and would prefer to never stop. With computer work (especially animation) it‘s different, because I notice sometime after midnight that I can no longer focus. I also take notes, sketch and write down ideas and thoughts. Sometimes an idea develops over some time or mixes with impressions and memories collected somewhere, new places and people I meet. Sometimes different materials influence each other. I am a great collector of all kinds of plants that interest me in their shape or color. I dry and watch them change. Some of them I have then combined with ceramic sculptures. Sometimes it‘s just my curiosity: I discover a creative process (e.g. a printing technique) and want to know how it works, to try it out for myself. Often I just feel, I have to work, it just happens. During the process I can in a way sort out and process thoughts.
It's sometimes easier being guided by a brief but what about when you're working independently?
If someone trusts me and gives me absolute freedom in the design, that‘s the greatest and has always worked so far. However, if someone already has a vague idea, I prefer that this person communicates it clearly and honestly so that I can follow it. That can also be very exciting. Finding ways to express what is desired with more limited possibilities.
What types of music do you listen to? Does it affect with which artist/label you work with or do you enjoy the challenge and diversity?
Yes, I am sure that my musical taste affects my clientele. As simple as it sounds, it is obvious that every music style has its own visual codes and cultural background. Of course, one can consciously play with these. Accordingly, I have never been asked (as an example) by a pure electro label. But basically, when someone asks me and explains why they would like to work with me, I‘m always open to new things.
Why have chosen to collaborate with musicians or labels by designing cover artwork? Does the music of the album play a big part when you create?
My favorite thing to do when I started working as a graphic designer was to create posters, and I just never stopped. Bringing design and music together is a great passion of mine. I love discovering new music and then try to represent it in a visual way. I‘m always surprised what emerges from this limited space, piece of blank paper. I‘ve been designing concert posters for a friend‘s booking label called Hush Hush for five years. I also design for other labels or musicians who contact me directly.
Do you try to accompany your style with the music on the record?
When I design LP covers I‘m asked because someone likes my illustrative style and then of course I adapt to the mood of the music. I am also able to work graphically and reduced, if it fits thematically.
Are there people you haven't collaborated with that you have your eyes on and would like to work with?
I am basically open to collaborations and exchanges. As I am also very interested in narration I would love to illustrate to a song text by Bill Callahan as I really appreciate his lyric poetry.
What could you see yourself doing more in the future creativity wise?
I would love to go deeper into painting and ceramics.
“When creating something tangible, which I prefer, I find that these particular disciplines allow me to express myself the most.”
Especially the sculptural work with clay. I spent many nights last year in the ceramics workshop and love this work. I am also very drawn to painting. For me, there is definitely a difference between digital work and craft work. For example, when I animate digitally, the time seems quite slow and I don‘t really enjoy the process, even if I am very happy with the result in the end. With ceramics and painting (or printmaking), on the other hand, I need the whole way, during the process I‘m constantly learning, I can process feelings and emotions, and I‘m absolutely absorbed in the work. In a fantastic way. I also love objects that you can see that they were obviously formed by hand, with all their oddities.
What are you working on now/most excited about next/upcoming projects?
I actually always have several different projects going on. At the moment I‘m also working on aquatint etching, an incredibly complex technique. I am illustrating a children‘s poem, which I will also bind into a small booklet. If I find time, I would like to try to submit my paintings to galleries. A new one is also in the making.
Get in contact with Linda:
Kyburgstrasse 12
3013 Bern
+41 79 579 37 09
Instagram: @linda_meli