Pop Art: Chloe Wise Reveals Olivia Rodrigo Album Artwork

Chloe Wise has become the latest blue-chip artist to turn their hand to album art by creating a cover for Olivia Rodrigo’s giddy new pop-rock offering, You Seem Pretty Sad For a Girl So In Love.

In a fitting move for the Good 4 u singer, the limited-edition picture disc vinyl version of Rodrigo’s third studio album features an image of Rodrigo looking angelic, gazing upwards towards a switchblade. Wise’s original painting is a large work entitled Carve Our Names (2026), created from a photograph taken by Chad Moore.

“A lot of her visual world lives in this really fun, free, but irreverent femininity that I think really meshes with a lot of the work I was making for the last 10 years,” Wise recently told Harper’s Bazaar. “When I saw the imagery that she was using for this album and what she asked me to do, I was instantly, like: ‘That feels like my work. That feels like paintings I’ve made.’”

Wise has said that her decision to collaborate with Rodrigo was based on their shared love for playing with genre. Rodrigo often mixes balladic love songs with angry, punky lyrics—and recently made headlines for adding babydoll dresses into the mix.

Wise’s paintings, meanwhile, trend towards combining girlish ingenue with the uncanny. In an essay for Art in America, critic Emily Watlington last year included the artist in a rundown of those embedded in the genre of “Hot Girl Feminism”, a label that fits well within Rodirogo’s constructed pop star universe. 

The pair’s collaboration follows other high-profile crossovers between the worlds of music and art. In March 2026, the album cover of British pop-star Lily Allen’s West End Girl, painted by Spanish artist Nieves Gonzales, went on display in London’s National Portrait Gallery. And in autumn 2025, Charli XCX graced the cover of Vanity Fair with a specially commissioned portrait by Issy Wood, Charli 2 (2025).

The Rodrigo album cover emerges as Chloe Wise prepares for her solo show, Extrasensory, opening on 12 June at The Kulturstiftung Basel H Geiger. This is the artist’s first institutional show in Switzerland; curator Samuel Leuenberger has said that, “in an era of forced clarity”, the exhibition “insists on ambiguity as a form of resistance”.