Anna Mielniczuk aka Ania Greta Studio is a world builder. Her work envelopes us in nostalgia, while maintaining a keen eye for design, modernism, and color.
Born in Poland, and inspired by the Polish School of Posters design movement during the mid century, Mielniczuk finds inspiration in vintage books and trinkets. Her process is grounded and ambitious. “I like the challenge of a blank piece of paper or canvas” says Anna. “I will usually let my intuition guide me, with little to no plan before getting started. If I feel stuck I will look through my image banks and books and let my imagination do its thing.”
Flowing freely between illustration, design, and painting, we found her process grounded, yet imaginative. A refreshing take on a modern maker. We tapped in with her at her Chicago studio to learn more about the work and process.
It’s clear that you have a connection to the Arts & Crafts movement. Have you been crafting and creating since childhood?
Definitely. I was really creative early on and loved to draw and make all sorts of things. I had a pretty active imagination and loved to dress up and put on shows for my family members. I would also make clothes for dolls using my mom’s fancy blouses – she was not a huge fan of that.
You seem to float between illustration, painting, and design. Do they all work harmoniously in your mind or do you favor a particular medium?
Over the last few years they all have begun working together in my mind. I started out in design, then moved into painting, and then illustration. I struggled for a bit trying to figure out how to incorporate all these mediums together, and then at a certain point I stopped trying to control so much of what I was putting out and just let it flow. Since then, I have been more at ease in the studio and I let my projects inspire one another.
Walk us through your process. Do you work from a home studio?
I currently have a quaint home studio. It is filled with trinkets, books, reference images, and all sorts of things that keep me inspired. I try to draw or make something every single day. Usually that includes early mornings before my other job or evenings after dinner. I get ideas for what I want to draw or paint all throughout the day. Sometimes I am driving, other times I am doing dishes. I try my best to write my ideas down before they disappear and I am unable to remember them later. When I am ready to work on something, I like the challenge of a blank piece of paper or canvas. I will usually let my intuition guide me, with little to no plan before getting started. If I feel stuck I will look through my image banks and books and let my imagination do its thing.
How often do you paint what’s around you or draw directly from reference?
I enjoy taking photos on walks and when I travel. I also like looking through books and magazines, blogs, and notably pinterest for visual inspiration. Rarely do I draw directly from reference, instead I let the different elements of what I am looking at inspire me–whether that includes a certain color palette, a textural detail, shape, or a visual motif like an animal or object. I like the aspect of naiveness when it comes to drawing from memory. Makes my work feel more honest.
Do you listen to music while you create? Anything inspiring you at the moment?
Sometimes I prefer working without music and let the sounds outside of my window pour into my studio. Most of the time though I listen to music. I love jazz, motown, soul, classic punk rock, garage rock, and female fronted rock bands. I do have to say- jazz is a big one in my studio, and I love listening to musicians such as Billie Holiday and Blossom Dearie. Lately too I’ve been enjoying Kate Bollinger, Dolly Mixture, and The Big Moon.
Much of your work is vintage inspired. Are there any specific eras you enjoy pulling from or referencing? If so, where do you find the sources or references?
I love art history and find it super important in my practice. I also love collecting art books. The arts and craft movement is a big inspiration of course, but so is abstract expressionism, and modernism, and I like to think my art practice pulls a little bit from each one. I am also a huge fan of vintage children’s book illustrations particularly from Eastern Europe. I was born in Poland so a lot of it is nostalgic for me. There was also a design movement in Poland during the mid century into the 1980s known as the Polish School of Posters, which has heavily influenced my approach to illustration, painting, and design as a whole. I also am deeply inspired by individual artists such as Tove Jansson, Milton Avery, Etel Adnan, Sonia Delaunay, Saul Steinberg, and Helen Frankenthaler.
Your color palette is bold and bright but remains so warm and grounded within your visual universe. Do you mix/create your own?
I am very sensitive to color. My current color palette is a riff from a series of paintings I did in 2017. I did a large series of abstract oil paintings, and essentially it was my first time exploring abstract art on that scale. I have a deep connection to these works and love what they represent. I am very inspired by nature and I mix my own colors. I love earthy colors and like to think most of my palette comes from colors found in the wild, whether that’s a field of wildflowers or the feathers of beautiful birds.
We love your mini comic “The Adventures of Lady Stardust.” Anything you’re dying to portray in another comic?
Thank you! I started drawing Lady Stardust during the pandemic. She brought me so much joy and allowed for me to feel like a kid again, exploring the world anew. As for anything else I’d like to portray in a comic? I like the idea of abstract comics, so I would like to explore more poetic approaches–something more meditative and dreamy- a little visual getaway for adults. I have also written two children’s stories, which I would love to make into real life books.
Any mediums you’re curious about experimenting with?
I recently took a ceramics class and found it super fun. I would love to make more plates in the future. Currently, I am diving into the world of embroidery.
Have you experienced any creative hurdles along the way? How’d you break through?
Of course! There were days when I felt completely lost in my studio, other days I simply did not feel like I was enough. All I can say is take a deep breath and keep going. The best advice I got was not to consider your work too precious. Keep making, keep moving forward, playing, exploring.
Photos by Emily Davis Studio