Maris Jones

Before you read her book (which two of you can win a free copy of here!), check out our convo below on all things art, her fave project so far, and what it was like working with Chappell Roan.

How did you first get into art?
I was born to create. I would say that most people probably are, but I’m aware that I came from a unique situation where both my parents were visual artists who had also attended art school. They were able to immediately understand, help, and nurture my artistic tendencies the minute they saw them appear by doubling down and sharing their love for all the different areas of culture while also encouraging me to explore all of the areas on my own. Since I was born with cerebral palsy, I spent much of my time playing alone because it was hard for me to keep up with other children physically.

I can remember the first moment I felt like I was heading in the direction of becoming a creative was when my dad showed me the original Clash of the Titans. Ray Harryhausen, who was an animator that created all the stop-motion/VFX for the film (and most films from the ‘50s, ‘60s, ‘70s, and ‘80s), did incredible work, and I was absolutely mesmerized by the world and effects I saw on screen. I think I was about 5 or 6 years old when I asked my father how they made those creatures. He explained the basics of how to animate. From that day on, all I wanted to do was photograph and film/animate my toys at all times. Instead of playing outside, I was fumbling around with the family camcorder. I knew there was never going to be anything else that I loved as much. I can’t imagine if that moment had never happened!

Your art is often vibrant, retro, and a serious vibe. What inspires it?
I’m inspired by everything I have ever loved, feared, or been fascinated by. I’m blown away by old Hollywood films from the ‘30s and the ability they had to create artistic worlds within another art form—film. The sets and places don’t look like real life, but they are physically real. I wanted to be there. I remember being very young and continuously being sucked into anything that was stylized, colorful, with self-aware humor. So often, when I make something, it’s rooted in these film tropes where I try to take classic scenarios that I always dreamed of being in. Since most classic main characters have been male throughout history, I enjoy flipping the trope and injecting a female character into it. I get to be the characters I always dreamed of being while also tying a theme to it. I love a good underdog story.

I’m also inspired by music. I have synesthesia (which I didn’t know about until my adult life), which makes me see and associate color with certain sounds. To me, music is like a doorway into a whole, colorful world. Visuals and music together are often some of the most powerful combinations to exist, and my favorite to play around with.

Do you have a favorite child among your projects?
I made a video a few years back called The Night of the Magic Flight that really felt to me like I was beginning to truly unlock who I was as an artist, combining my love for old movies with a mixture of rock n’ roll fantasy. I felt like that was the video where it all clicked, and I finally said to myself, “Ok, this is good.” I have since then made technically better work, but it remains one of my favorites because of what it meant to me at the time and what it symbolized. I was now entering a new era. As creatives, we know how cool and rewarding that aha! moment is.

And we have to ask: What was it like designing for Chappell Roan?
Let’s just say my childhood self could never have imagined that I would get to design such fun, cool, and impactful pieces. Every time she has given me a theme, I kick myself because I have been obsessed with that thing at some point in time and only could dream of something like this being a job. Also, she’s a wonderful person and has a wonderful team of people—she deserves it all.

What medium do you usually use for your work?
I’m always changing my medium depending on what I’m creating, but the elements that mostly stay consistent are the camera and lighting portions of my work. What I put within the frame always varies. I used to create a lot of the props and set pieces using cardboard or foam core from the dollar store craft section, using a box cutter to cut and hot glue to assemble. Now, I’m using insulation foam sheets, construction adhesive, and a collection of power tools. I find it so interesting to reflect on natural progression and how the use of time helps level up the artistic process. It’s a good reminder that if you are just starting out, focus on the concepts rather than the materials. In time, you’ll have the funds and resources to get the equipment if you stick with it.

Are there other mediums you like to work with?
Besides the camera, I would say my other favorite materials to work with are various foam elements and a sander. There’s something very satisfying about shaving foam down to sculpt the shape you want. I will also always be obsessed with my computer’s editing programs. I absolutely love the editing process of my work. I pretty much create something just so I can edit. At the end of the day, I live for the end results, so I’m willing to do or use any number of things to reach my final concept if I feel inspired enough.

Now, tell us about Unlock Your Aesthetic. What do you hope to inspire in readers?
I hope that the book can be a fun reminder for people that creating takes time and patience, and it’s okay not to immediately produce work that you feel is good. It’s an incredibly distracting time, given how technology affects our brains and how seeing an endless stream of curated work can make us feel like we are less and should be better. You only need to be in competition with yourself, no one else. You can only be you and what you are influenced by. I also discuss how we often already have all the answers of who we are visually; we just have to uncover what leads us to make the choices we make. Use what you have and get the idea out there regardless of execution. Make something every Saturday! That’s what I would do. I would say, “Hey, this day I’m just going to make something and that’s that.”

I’m sure people now see me online and think, “Oh, she’s got all this stuff; of course she can make this and that.” But I didn’t always have these things. I just kept creating and not looking back, and in time I grew and got better, had more resources. When I reflect, I can’t believe how far I’ve come. One thing I never worried about during the initial growth process was whether my work was good enough or deep enough. I made stuff to make myself happy, and I think people felt that, too. Have fun and just create the damn thing, then create something new, then do it again. Do it for you and not for the numbers. It will pay off. Also, it’s not that serious.