Jenna Josepher


Name: Jenna Rose Josepher

Age: 31

Preferred Medium: video, thought

Birthplace / Current City: New York, NY / New York, NY


Describe the path that lead you to the work you do now: 

I’ve always been very visually-led; I found the first logo I designed in a sketchbook from the fourth grade. Career-wise, I started out in set design, doing a lot of drafting, painting, and on-set work. Eventually I shifted over to graphic design that led to animation. A few years ago I found myself working for The New York Times which was an incredible experience but not the most creatively fulfilling. In order to maintain a creative balance, I began to produce and direct music videos, photo stories, and visual art in general. Currently, I’m the Creative Director at a beauty start-up where I’m learning a lot about building narratives and thinking about the bigger picture. 


Do you find inspiration in your everyday life? If so, how? 

Yes, almost exclusively. It’s cheesy but I like to look for small miracles in the everyday. I’m into sappy, low-frequency moments like finding the shape of space between two objects and light bending in a warped reflection. Sometimes I also have very vivid and bizarrely symbolic dreams that have informed some of my work.


What would you say is the driving force behind your work? 

When applicable, I like to make people slightly uncomfortable; to make the viewer question their current way of looking. Imagery has this unique potential to transcend political and social boundaries that in today’s particularly polarizing and tribalist climate feels second only to magic. Ultimately, I use my work as a visual exploration of ideas. 


What are your most important artistic tools?

People! Collaborators and free flowing conversations are the most important. A group dynamic that’s conducive to bouncing ideas is invaluable.


Is there anyone you admire? 

My friends/collaborators and Linda Belcher… she’s a cartoon, but what a role model.


Do you have a work outfit?

Most of the music videos I’ve done entail a lot of nudity. There’s something that feels unfair to me about being a clothed person directing a nude person, so when I’m on set I like to wear outfits comparable to those in front of the camera. I feel like it helps to build a light-hearted communal mentality that allows us to easily stay on the same page. I also encourage everyone on the crew to do the same. When you’re having fun behind the camera, the work just comes out better.


Who has the best uniform?

20th century French workmen.


What’s inspiring you right now?

the light at the end of the tunnel.


See more from the artist, here.

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