Jason Ebeyer


A nitid expedition through the alternative realities of artist Jason Ebeyer.

Challenging perceptions and wrestling with ideas through religious imagery and often sexualised themes.


He shapes a distinctive world that sees its inspiration from traditional painters, including William-Adolphe Bouguereau and Caravaggio, as well as photographers Steven Klein and David LaChappelle. Here, in the midst of projects, Ebeyer reflects on his enthralling work.

ASBO - Would you describe yourself as both an artist and a visual designer?

JASON - Yes and no. I mean, yeah, I do tell people I’m a 3D artist and visual designer, but I tend to steer away from the “visual designer” aspect. This is only because I don’t want my artwork to fall into the realm of content creation or memes.

ASBO - Can you describe your creative process when starting a project?

JASON -So usually, if I’m making a personal piece, I’ll have the idea in my head. Sometimes I’ll sketch it out and follow it, and other times I’ll just start building up the scene, letting it come together naturally. I tend to try and keep my personal work as fluid as I can; I feel that too much planning can really shatter creativity.

ASBO - For you, what was the appeal of digital art?

JASON - I have an incredibly short attention span, so for me to be able to have an idea and create a full animation or still scene in a day or two is such a benefit to me. In saying that, though, I do have some personal projects which I’ve spent months working on. I also think that digital art is the way of the future and I’m really interested in how quickly the software - and even hardware - advances. Things that seem like science fiction today might be totally possible by this time next year.  


ASBO - Is there a design philosophy that underpins and powers your approach to art and design?

JASON - I was studying graphic design when I first began to create 3D artwork for myself. I’ve completely gone against all of the design philosophy and work practices I was taught during my time at university. At the time, I felt so restricted and regimented. It just didn’t work for me and made me feel so miserable, almost like being creative was a chore. I still implement things like composition, colour theory and structure in my work. But in terms of a strict philosophy - that is a hard no.

ASBO - How would you say your work relates to augmented reality?

JASON - At the moment the work I’m producing would probably relate more to virtual reality because the entire scene is virtual. I’ve started experimenting with augmented reality and compositing my characters into real scenes, but I’m saving that for something later on this year or early next year.

ASBO - What are you working on now?

JASON - I’ve just finished some work for New York Fashion Week. Currently, I’m wrapping up a six-image, six-animation project for a New York-based fashion house, which has been a really cool project to be a part of. They really understood my work and what I do, and let me help bring their vision to life.


ASBO - Has living in Melbourne, Australia, influenced your work?

JASON - Parts certainly have. I’m involved with a monthly event called Beaút, which is essentially a massive party that celebrates art, fashion and individuality. Beaút was my first time ever displaying my work in public. Since my first event there sixteen months ago, I’ve displayed new work each month and become part of a family. I do love Melbourne but my partner and I are looking to move overseas - the main reason being, I feel Australia, in terms of art and design, is always playing catch up with the rest of the world. Don’t get me wrong, there is incredible talent here and some really forward thinking minds, but they don’t get the recognition they deserve because everyone else likes to play it safe. 

ASBO - Where, conceptually speaking, would you like to see your work go to next?

JASON - Within my work I always try to explore ideas and themes that mean something to me. Ever since I made my first short film earlier this year, I’ve really wanted to get back to making a longer feature and exploring more of the themes I touched on during that piece.

Words: Julia Gessler

james may