Text by Thiago Vidal
In the days leading up to the performance of alternative rock giants Smashing Pumpkins in Brazil, I find myself thinking about the cover of Mellon Collie and The Infinite Sadness, the classic 1995 album, and its artwork. The figure of a woman adrift, seemingly indifferent to the moment depicted, is provocative and contemplative, and the roots of its creation sparked a curiosity that resulted in this short text about the conception of the figure.
The cover image is a collage created by John Craig , an illustrator from Pittsburgh who was living in Wisconsin at the time. Vocalist Billy Corgan was looking for an artist whose work revolved around Victorian paintings for the album artwork, and even after seeing John's work, he continued his search for someone who could deliver what he initially had in mind.
After initial contact with an artist who was going to do the paintings for the album artwork, which for some reason didn't work out, Frank Olinsky , the album's art director, recommended Craig. Despite Corgan's uncertainty, some sketches were sent via fax, and some time later the collage of the children in the field was created.
The cover art came some time later after an unusual situation. The idea was originally a photographic shoot with the band in a Victorian-themed setting, to be done by a French photographer, until he asked for an exorbitant amount of money for the work. Pleased with the artwork for the liner notes, Billy was convinced by Craig to give the cover art a chance, and after a few faxes, the girl adrift in her own little star was born. The dreamy face created by Greuze and the restless hands portrayed by Rafael were rearranged by John, resulting in one of the most interesting album covers in the music world.
The artwork has a strong connection to the themes portrayed in the album. The constant feeling of dissatisfaction and melancholy are perfectly depicted in the eyes and expressions of the lost girl; the collages and songs converse like remaining fragments of a lost book.
John and Billy never actually met. The artist went to the album's debut show and had been invited to the after-party, but never made it because he had newborn children. The girl adrift, which became a classic, remained confined to two brilliant minds, a few drafts, and the (it's funny to imagine that people actually communicated through this means) now obsolete fax machine.
