Today we’d like to introduce you to Esme Jackson.
Esme, please share your story with us. How did you get to where you are today?
I work in film and media as a Set Designer/Production Designer. I’ve had a windy path, but every job has paved the way for the next. I feel lucky to have had the experiences that I have. I guess it’s best to start from high school. I am proud to say I am a born and raised angeleno. I studied on the west side at Palisades Charter High. Home to many successful people in film such as J.J. Abrams. Though at the time, all I cared about was painting and photography. I was lucky to have mentors in school and out, motivating me and guiding me through the art world. There is an after school program out here called Venice Arts. It is for any income bracket and I can’t recommend it enough. With their help, I have my first photography exhibit at 17.
This exhibit was advertised in a local paper, which brought enough recognition to help get me a small scholarship to the School of the Art Institute of Chicago. A multidisciplinary art school that well served my spastic youthful interests. I learned welding, 3d modeling and CNC milling. I finished with a focus in industrial design, mostly because it was the department with the coolest toys.
After finishing up my Undergrad, I wasn’t quite ready to go back to LA just yet. I planned to live in LA forever, so I figured I had more time to explore. I finished up my degree at Columbia University in New York. They have an amazing visiting student program, I highly recommend. Nothing is out of reach, don’t talk yourself out of it before you try.
Settling in New York, I was ready to train my laid back LA self the meaning of “work ethic.” Why subject myself to such insanity? I haven’t the faintest idea. It felt important at the time. I quickly learned that the outside world was not as up to date on expensive industrial design tools as my cushy collage. I took the first job I could find that had a CNC machine. Funnily enough, I spent most of my time elbow deep in resin and fiberglass, never touching the CNC. I was what is called a ‘Ghost Artist.’ Sort of like a ghostwriter but for sculptors. “What?! Artists don’t make their own art?” a lot of the time no, they don’t. Think of Andy Warhol’s “Factory” or Willy Wonka’s for that matter. I met the best, most inspirational women on those jobs. And the most obscure self-obsessed artists. If any of my old bosses are reading this, don’t worry, it was the other guy. Anyway, yes, I went to work dressed like many of you are today, in a tyvek suit, gloves and a full-face respirator. I was paid $10 an hour and made works that were sent to Milan and sold for hundreds of thousands. If that wasn’t enough, where I really lost it was at a job where I was literally gluing money together. I would sacrifice more money out of our economy than I made in a day. Though I was good at it, I lost my mind a little.
This was lucky timing and led me to set design. An environment I’d still get to design and build, but where I wouldn’t have to worry about resin melting my vinyl gloves to my hands creating fun barnacles on my fingernails. I worked at a scene shop that focused on televised events and concerts. I LOVED IT. I saw amazing performances by Andra Day to Beyoncé. I started training myself in Vectorworks and like every person in the Film/TV, had my heart set on Narrative. I guarantee you will have the “What I really want to do, is Narrative” conversation more times than you can count. I get it, in that regard, I am not special. But I stand with all your other Narrative seekers!
A magical window of opportunity opened and I was able to PA on Orange is the New Black. This was the season post-riot when they were all sent to maximum security. This was a great opportunity to see a set constructed from nothing. I learned a lot, but mostly that I wanted more freedom. I finally moved back to LA and spent the next two years studying Production Design at AFI. While in school, I designed music videos and several shorts. I have strengthened my drafting skills, and tyvek suits are long behind me. Currently, I am working on an Apple series called For All Mankind. It is a beautiful mix of period and scifi, a designer’s dream and producer’s budgetary nightmare. I have been mixing in some short film shoots on weekends and plan to continue. We are living in a time of upheaval. A time when so many voices that were once muffled are getting microphones. I have been honored and elated to get to assist in bringing these stories to light. I have been lucky to find most jobs that highlight women, POC and LGBTQ. Please keep them coming!
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
It’s funny whenever I am on a good job. I look back and think of how sentimental the path has been. But when I’m unemployed and look back, I see the trenches. To that degree, I have realized a huge obstacle was my own mind. Figuring out what the hell you want to do and how is one of the harding things a person can do.
I have had a job where I asked for a raise. Not only did I not get the raise, but my boss threatened to fire me, saying he had already called for my replacement. He said I did not appreciate the job I was given, and if I pulled a stunt like that again, he would ruin my name in the business (meaning the film world). I walked home that day.. it was 6 miles. People will always say shit like that. So learning your worth is another not easy feat. But an important one. You will mess up. It will take navigating. But no one can ruin your whole career just by being a jerk.
We’d love to hear more about your work.
I am a production designer/set designer. I create environments to be captured on camera. This can be anything from a music video to a feature film. Unfortunately, my craft is only really utilized on big-budget projects that can afford to build a space. If I am not building, I am set dressing and that is less my pursuit. Set dressing is more what I do for fun. Films or music videos for friends as they often never pay. I’ve heard a great analogy describing the difference between set dressing and production design. Think of a room, now take that room and flip it upside down. Everything that falls out is set dressing. Everything that stays, i.e. the walls, the windows, the doors, is the production design. Production design is my career. Set dressing is what I do for fun.
Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
First off, I’d again like to mention Venice Arts. It is a fantastic after school program for film and photography. They teach kids all income brackets and have great standing in the neighborhood. I have been lucky to have supportive parents. They sometimes gave shit advice, but it was always out of love, so I forgive them. And I’m grateful to all my employers. Every job I’ve had has really influenced my life and career. Some were messy, but I wouldn’t trade a single one.
Contact Info:
- Website: www.esmejackson.com
- Phone: 310 295 7985
- Email: [email protected]
- Instagram: frvr310
Image Credit:
Photographed: Olivia Ferguson, Millicent Phillips, Paige Wollensak, and Claire McCluskey
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