Linn begins each painting with a clear, well-conceived plan—but, during her creative process, forces beyond her control take over and result in unexpected compositions. She refers to this as the “unplanned imperfect” and it is key to her process and outcome of each individual piece.

Made up of thousands of meticulously ordered hand-drawn lines and dots, Linn Meyers' artwork balances both organization and chaos.

She explains, "each line or dot is a direct response to the mark made just before."

Following this imperative process, she lets go of preconceived ideas of how the composition will develop. "I allow the paintings to evolve independently of expectations," Linn says.

The result creates finished pieces that are both still and moving, ordered and chaotic. This Featured Artist finds the balance between perfection and the beauty of imperfection. 

You can see more of her work on the Artwork Archive Discovery Platform and read more about her art process and art business below. 

Linn Meyers working in her studio. Photo courtesy of the artist.

Do you have a favorite or most satisfying part of your process?

The world that we live in is not a patient one, and the work that takes place inside of my studio is predicated on the idea that process is primary and time spent working is time spent well. 

The tempo inside of my studio has an entirely different cadence than the speed of the outside world. I am totally invested in the labor that is embedded in each of my pieces.  

When a painting or drawing that I have been working on for months begins to come together, there is a certain unmatched thrill in knowing that the hours I have spent working will have produced a coherent image with that embedded history.

I generally do not publicly title my paintings. However, I do have names that I use privately to refer to some of them.

Untitled' | Linn Meyers, 41 x 33 in

I call this piece "my inward sea" after Howard Thurman's famous words:

"There is in every person an inward sea, and in that sea there is an island and on that island there is an altar and standing guard before the altar is the 'angel with the flaming sword.' Nothing can get by that angel to be placed upon the altar unless it has the mark of your inner authority. Nothing passes 'the angel with the flaming sword' to be placed upon your altar unless it be part of 'the fluid area of your consent.' This is

your crucial link with the Eternal."

—Howard Thurman

You state that each piece begins with a "clear and well-conceived plan, and then forces beyond my control take over". How much do your preconceived plans differ from your final pieces?

The outcome of each painting differs dramatically from where I begin and what I plan to make when I start out. That has been the case for so many years, but somehow it still surprises me! 

My mark-making process determines the way in which each composition develops. The small dots are painted in a grid-like manner. However, the grid inevitably becomes distorted as the painting progresses, which results in the bunching and spreading of the field of marks.

See more of Linn Meyers' work and process on Instagram.

What has your artistic education consisted of (formal or not)? If you did receive a formal education like an MFA, did you find it necessary for your artistic growth, or did you find that elsewhere?

I received a BFA from Cooper Union and an MFA from the California College of the Arts (CCA).  I sought out those schools because I wanted to learn everything I could about art-making, formal issues, conceptual concerns, art history, etc. 

That being said, I don't believe that art school is necessary in order to be an artist. It was simply the choice that was right for me at that time. I'm grateful for the formal education, and I'm always learning more by seeing exhibitions, reading, and talking about art with friends.  

What are you currently working on right now—any new series or pieces in progress?

I just finished up a large piece (84 x 72 inches) that I started back in April. I left the painting in process when I departed for the Hayama Residency in June, and when I returned to my studio at the beginning of July I was not sure what I would see! 

Luckily, being away for a month really helped me focus with new energy on the piece. Now that that is complete I plan to loop back to a large painting that I started while on residency at the Iris Project in LA last March.

Meyers' recently finished piece: 'Untitled', 84 x 72 in

Why did you decide to use Artwork Archive to inventory and archive your artworks? How do you use Artwork Archive on a day-to-day basis? 

I began using Artwork Archive at the beginning of the pandemic when the world slowed down. I wanted to take advantage of the moment, and getting my work from the past three decades organized seemed like a good way to do that. I still have work to do to finish archiving everything, but I already find the platform so helpful. 

One of my favorite features is the Private Rooms, which I've been using to organize works for exhibitions and share images with galleries and curators.

What advice would you give an emerging artist during this time?

I would give an emerging artist the same advice now that I would have given myself when I was getting started: build your community.

The art industry can be fickle.

Community, however we each define it, can be an essential ingredient for a sustainable creative life.  

Untitled' | Linn Meyers, 11 x 14 in

Linn Meyers uses Artwork Archive to archive decades worth of work and present her art professionally. 

You can easily digitize your inventory, catalog your artwork, and generate Private Rooms to share with potential clients just like Linn does. Take a look at Artwork Archive's free 30-day trial and start growing your art business.