Better to do than to plan

Guests who come to the Traube will be unable to miss the creative signature of Buchs graphic artist Adrian Scherrer. He created the logo, construction site boards, signs o the doors, the menus - h even had a hand in the wallpaper i the washrooms. (Have you noticed the golden piggy yet?) We would like to introduce you to the man who claims to be a «forest-and-meadow graphic artist». We'll also talk about the art.

Adrian, how does it feel to walk through the Traube today?

Adrian Scherrer: Amazing! It’s lovely how the graphic elements have now materialised in brass and wood, as wallpaper patterns and on paper.

What comes to the forefront: Your critical eye or the enjoyment of what you have achieved?

Definitely the enjoyment! I pretty much knew exactly how everything would turn out, save for the Woopies.

Of course, you created not only the graphic elements that run through the entire restaurant, but also the Woopies, these noise protection elements in the form of clouds on the ceiling of the Traubensaal. How do you see yourself? Are you more of an artist with your head in the clouds? Or a graphic designer with your feet firmly on the ground?

The great thing about my job is that I don’t have to choose – the crossover is fluid. Both painting and illustration or typography are imaginative ways to tell stories visually, only the technique is different.

Let’s take a step back again. How did the collaboration with the Traube begin? I assume it involved a white piece of paper …

I always base my work on what my clients tell me. In the case of the Traube, these were Kathrin (Katharina Schertler-Secli, owner) and Ruth (Ruth Kramer, interior design). We had several conversations – which already got the creativity flowing – during which they told me about their vision. So I don’t really start with a blank piece of paper, but rather by talking to my clients. Of course, my own approach also flows into every assignment. I develop various different ideas, which I then present to the client. My ideas then become more and more streamlined until, at some point, the direction in which we should go becomes completely clear. I like working this way. The main thing ultimately isn’t what I like, but rather what suits the client. Incidentally, working with Kathrin and Ruth was brilliant; there was an immediate spark between us. I quickly showed them my first ideas, they provided feedback and a kind of chain reaction ensued – it ignited.

You chose the famous painting «The Garden of Earthly Delights» by the Dutch painter Hieronymus Bosch as the base element. How did that decision come about?

The idea of working with these images has been dormant in me for a long time. When it came to developing the graphic elements for the Traube, it became clear to me: now’s the right time! The picture was likely painted between 1490 and 1500 and is now located in the Museo del Prado museum in Madrid. If you look closely at the three connected paintings, you’ll notice how incredibly free and beautiful they are. The coexistence of people of different skin colours, the peaceful yet joyful coexistence of people and animals – the artist presents all of this in a wonderfully aesthetic way. I also find the picture very appropriate today. It shows us how we could be living together; what could be possible. Another thing I like about this painting is that every element is about always pleasure in some form – about eating and drinking. Pleasure is central both in the painting and in the Traube restaurant.

Has there been any feedback? I mean, how have people reacted to seeing it?

Yes, the big construction site board on the main road already prompted some feedback, which made me very happy. A colleague walked past with her nursery school children, and the little ones really wanted to stop and take a closer look at the picture. One thing I can say for sure is that the details of the picture really evoke something in people.

«It’s less about where you are and more about who you are and how you look at things.»

A quick change of topic! Could you tell us about yourself so we can get to know you a little better? Who are you? Where do you come from?

I’d love to. I’m Adrian Scherrer, I grew up near here, in Plattnach. I went to nursery school here. This was where I had my little shack with Bruno and Robin, where we smoked our first Brissagos and cigarettes until there was smoke coming out of every crack. So you could say that the Altendorf district is “my” corner. Apart from that, I didn’t really get very far (laughs). However, I do believe that it’s less about where you are and more about who you are and how you look at things. I really enjoy spending time in nature – skiing, climbing, hiking, paragliding. I like to exercise outside, that’s how I recharge my batteries.

After completing my training in graphic design, I worked at an advertising agency in Zurich for two years. Then I became a father and my priorities shifted. So I took the leap and started my own business here in the Altendorf district of Buchs. I wouldn’t necessarily describe my step into self-employment as brave. It was more that I had nothing to lose, I just did it. It was only last year that I calculated for the first time just how much this self-employment costs me. If I had done that 18 years ago, I probably wouldn’t have had the courage (laughs). I think you shouldn’t plan too much – just dive in.

Does that mean you’ve been self-employed for 18 years? Kudos!

Thanks! I certainly owe this consistency to the fact that I became a father at a young age and therefore needed a certain amount of stability. I couldn’t afford to party until the early hours of the morning. On the contrary, I went to bed early, woke up early and devoted my time to work and family.

What is your trademark, graphically speaking? How would you describe your approach?

My speciality is that I do everything. I design for bike shops, carpenters, the Traube. I love having the opportunity to understand different people and immerse myself in different business models. This is still true. You also mentioned my approach. I like to slim down my work, ask myself what is needed and try to leave out what doesn’t fit and isn’t absolutely necessary. Keeping things neat is my thing. It’s occurring to me now: my job is basically tidying up (laughs). But playfulness is also an important part of me. I like to go with the flow and play with the elements. This is less about conscious thinking and more about creating. In the best-case scenario, I forget that I’m working and get into a state where everything just flows. I dive in, and when I resurface, something has appeared.

«I dive in, and when I resurface, something has appeared.»

You have to not only master your craft, but also develop a good feel for people.

Intuition is certainly important. Even more important is a genuine interest in people and their concerns. I ask myself: What kind of person is this? What are they about? Where are they now? Where do they want to go? What are they dreaming about?

And when is the moment that you say: «It’s good now, this works?»

When I can feel a clear approach in my work, the client usually feels it too. That’s when things work. I can’t sell something that I don’t really feel. A lot of it has to do with the rules that I set up and consistently apply. At Gasthaus Traube, for example, the printed form of the letters, words and sentences came from the shape of a grape. This design element runs through all elements – whether it’s the menu, the sign on the washroom door or an Instagram post.

Have you ever considered another career?

Back then, I considered various careers, tried out the commercial field, and I was interested in landscape gardening and carpentry. In essence, however, I always wanted to be an artist – a painter. Back then, I painted big, colourful graffiti pieces. Immersing myself in drawing and painting has always been a part of me, but typography also fascinated me early on. Letters can be funny, stiff or proud – I found that exciting. I was drawn to graphic design from an early age.

Yet you are establishing yourself more and more as an artist.

Since I became a father at an early age, my first priority was to earn money. The older my son got, the more time and space opened up to do more than just what was absolutely necessary. This is how my first pictures with aerial views came about. I was able to combine my hobby – paragliding – with art. In other words, I took photographs while flying, then deliberately selected parts of these images and recreated them as paintings in my studio. The fact that my son is now grown up allows me to take the step of becoming an artist.

Your motifs have developed further, from cloud to forest imagery.

I severely restricted my flying during the coronavirus pandemic. I didn’t want to take any unnecessary risks. So I started looking at the «backyard views» here from the studio. This was a key step for me. I have been successful with my cloud paintings, but I never wanted to only focus on things that I knew worked. I want to develop and grow. At the moment, it’s these rather dark forest pictures that interest me. The undergrowth.

The undergrowth?

When I look out of the window into the forest, I see nothing but disorder and chaos. Branches grow wildly together – it’s one big ghetto. This complexity fascinates me. It reminds me of the state of the world.

What do your paintings evoke in the viewer?

I think the best thing is when someone can’t formulate exactly what fascinates them. I love it when my pictures work visually. It results in a range of impressions, where many people see something bright and light in the pictures, while others see them as dark and depressive. I find that very exciting.

To conclude, what’s next for you and your work? Are there any other projects we can look forward to?

Absolutely! I don’t know if I’m allowed to reveal it yet, but we’re currently working hard on an analogous Traube magazine which tells stories about the Traube, and the first edition is scheduled for autumn. In addition, the hotel is coming in spring 2023 – there, my focus is on all the signage. Fortunately, the Traube will be at my side for a while. It’s very cool to be able to design everything for a client. Things are also moving forward in terms of art and I’m already looking forward to the exhibition at the Werdenberger Kleintheater fabriggli theatre this September.

Thank you Adrian for this fascinating conversation.

Interview: Doris Büchel
Photos: Roland Lichtensteiger

Tabula Rasa

What’s the first thing you do in the morning? Sort through last night’s dreams. What project would you love to carry out? An exhibition at the Tate Modern in London. What’s the best thing about your job? Using my creativity to help people turn their dreams into a reality. Head in the clouds or feet on the ground? First one, then the other. Analogue or digital? Analogue.

Which art exhibition is a must-see at the moment? The Georgia O’Keeffe retrospective at the Fondation Beyeler. Why? Because she painted incredibly beautiful colour nuances. Which book should everyone read today? When We Cease to Understand the World by Benjamin Labatut. Who would you like to share a meal with at the Traube? Sophia Loren, Spinoza, Francis Bacon and Shinichi Mochizuki. What would you ask? Sophia, can I kiss you?