[L]inder’s best-known piece of (visual) art is probably her seminal sleeve for the Buzzcocks 1977 single Orgasm Addict. The montage aimed to highlight the unfair cultural expectations placed on women, as well as the prevailing tendency to treat the female form as a commodity (the sum of a woman is her domestic appliances et al). This propensity towards Dadaesque collage, composed by combining images taken from men’s magazines (read: porn, cars, DIY) with those taken from women’s fashion and domestic magazines, was to become Linder’s signature style. Fuelled by a desire to change and challenge the status quo, Linder’s work addresses heavy-hitting issues such as feminism, capitalism and sexuality. It is, however, her innate ability to bring light and humour to these topics that proves her worth and strength as an artist and human being.
While retaining her commitment to the visual arts and the medium of collage, Linder now works across a variety of artistic disciplines, with a particular current focus on performance art. In 2013, she debuted The Ultimate Form, a multi-media piece featuring a ballet created in collaboration with Northern Ballet, which was first shown as part of her retrospective at the Musée d’Art Moderne de la Ville de Paris, before travelling to the Hepworth Wakefield and Tate St Ives, to great critical acclaim. This autumn she is collaborating once again with Northern Ballet for her upcoming show, Children of the Mantic Stain, at the Leeds City Art Gallery. The significance of her punk-feminist work cannot be overstated — it changed the way we view both advertising and art, forever.