Melissa Meier stands among today’s most innovative contemporary artists, celebrated for her groundbreaking fusion of sculpture, performance, and photography. With exhibitions across leading galleries and museums worldwide, her work transforms organic materials into powerful narratives that blur the boundaries between ritual, identity, and fashion. Internationally recognized for her acclaimed Skins series and large-scale projects, Meier has built a reputation as a fearless experimenter whose art is as visually arresting as it is conceptually profound. Here, in an exclusive interview for FOXYLAB, she opens up about her creative journey and the ideas that continue to shape her remarkable body of work.
I am a multidisciplinary artist with an interest in combining sculpture, collage, found objects and photography in my art. I like to think of myself as a visual poet of sorts, expressing moods and telling stories no matter what the medium. I am drawn to sculpture but photography has become an important part of my process due to the short life span of the organic materials I like to incorporate.
I was brought up in Brazil (I’m half Swiss) and studied in the United States at Art Center College of Design in Pasadena. I started my career in New York City creating three dimensional mixed media illustrations for clients including The New York Times, The Washington Post, Fortune Magazine, MTV and VH1 Networks. I was able to transition to focusing on my fine art full-time in 1997. I think being brought up in Brazil and traveling the world had a huge influence on me. I was exposed to many cultures and my parents were always extremely supportive of my creativity.
A pivotal moment sparked my artistic journey when my daughter slipped into my first wearable sculpture. Initially, I intended to document the piece, but witnessing her move in it was nothing short of mesmerizing. The rhythmic motion of the organic materials, the sounds they produced, and the 360-degree view of the artwork’s dynamic form exceeded my wildest expectations. By blurring the lines between sculpture and fashion, I invite viewers to reexamine their relationship with nature – to slow down, observe, and appreciate its beauty up close.
I started the Skins Series in California in 2013. I have a magnificent Magnolia tree in front of my house. The magnolia leaves were scattered across my lawn and I completely fell in love with the unique colors and textures of each leaf. I decided to sew the leaves together and this became my first wearable construction for the Skins Series. I had my daughter model the constructions for me and I photographed the work since I knew with time the pieces would slowly decompose. After this creation I started making other wearable construction with other organic materials such as pinecones, sea shells, moss, lavender, pistachio shells, sticks, stones, wheat, bean, rice etc. Each material has its own lifespan depending on how fragile it is. Usually before an art show I will need to fresh the materials before delivery and after it is delivered at the gallery or museum.
As an artist, I love navigating the intersection of sculpture, performance, and photography. My wearable sculptures come alive when donned by the wearer, showcasing the dynamic relationship between organic materials and the human body. Through photography, I capture the ephemeral nature of these pieces, preserving their essence through images.
Nature is my studio, and inspiration strikes in the most unexpected places. A forest floor scattered with pinecones, a storm-battered beach littered with shells, or a chance encounter with a lavender farmer – all these encounters spark creativity. Sometimes, memories linger, like the image of a dog covered in porcupine quills after a misadventure. This visual stuck with me, and during the pandemic, it evolved into a wearable mask. I ensured the quills were sustainably sourced, harvested from natural shedding, to preserve the integrity of these organic materials. I’m drawn to the beauty and unpredictability of nature, and I relish the challenge of working with diverse materials. Whether found or gifted, each material tells a story, and I’m humbled to be a part of its narrative.
When my wearable sculptures come to life on a model, the ultimate goal is to capture a mood, a moment, a story. I strive to convey the essence of the piece through the model’s expression and pose, freezing time in a single, evocative image. To achieve this, I share my vision with the model before the shoot, guiding them toward the emotional resonance I aim to capture. The photo shoot itself can be a delicate dance between control and surrender – I have a clear idea of what I’m looking for, but I also need to let go and allow the moment to unfold naturally. It’s a fine balance between direction and spontaneity, where the magic happens in the in-between moments.
The gaze of each ceramic mask emerges organically, guided by intuition rather than deliberate design. I surrender to the creative process, allowing my hands to shape and mold the clay into expressive forms. Even with preconceived notions, the final expressions seem to unfold naturally, especially when working with multi-eyed masks. It’s as if the masks themselves are revealing their unique personalities through the subtle nuances of their gazes.
The glass eyes seem to pulse with life, their luminosity a result of the way light dances through the material. I’ve developed a two-step process to ensure their delicate beauty is preserved – firing the ceramic masks first, then carefully adding the glass eyes afterwards. Given their fragility and the risks of heat damage, caution is essential. While working with ceramics can be unpredictable, with pieces sometimes cracking or exploding in the kiln, I view each setback as an opportunity to learn and refine my craft. Rather than getting discouraged, I remake the piece, allowing the process to guide me toward the desired outcome
Imagine a world where wearable art meets circus spectacle – I’d love to collaborate with Cirque du Soleil to bring this vision to life. Envision a fantastical realm where unusual animals, breathtaking landscapes, and organic elements converge in a swirl of color and texture. With dance, acrobatics, and music woven throughout, the performance would be a dynamic, immersive experience. My wearable art pieces would be integral to the narrative, transforming performers into living, breathing works of art that blur the lines between fashion, art, and spectacle.
One material that creates both fascination and trepidation in me is fire. The idea of harnessing its transformative power to create wearable art pieces is thrilling, yet intimidating. Working with fire would push me out of my comfort zone, challenging me to experiment with new techniques and forms. The unpredictability of fire would require a delicate balance between control and surrender, potentially yielding unique, ephemeral creations that are both captivating and thought-provoking.
My ‘Constructions’ series marked the beginning of my artistic journey, sparked by a fascination with vintage photographs discovered at flea markets. These enigmatic portraits ignited my curiosity about the lives and stories behind the images. Through intricate dioramas, I brought these forgotten faces to life, embedding antique objects that revealed hidden narratives and symbolic truths. This process allowed me to explore my own identity, blurring the lines between past and present, and uncovering the secrets hidden within these timeless images.
If I could situate one artwork anywhere in the world, I’d choose to place my large paper head, crafted from discarded materials, in a remote forest or atop a mountain in Switzerland. I’d love to witness nature’s gradual reclamation of the piece, as moss, plants, and snow envelop it, transforming it into a mysterious relic. The ultimate fantasy would be for someone to stumble upon it, mistaking it for an ancient artifact from a lost civilization, sparking their imagination and curiosity about the secrets it holds.
