Between the realms of code and canvas, Jessica Ticchio crafts digital wonders that defy easy definition. From her Sydney studio, she shapes light and form into dreamscapes that challenge her audience. As Creative Director of Studio Messa, she transforms spaces into experiences, weaving technology and imagination into immersive tapestries for the world’s leading brands.
Her work lives in the interstices of reality and dreams, where the possibilities of digital space meets the certainties of human vision, and virtual reality blurs the edges of perception. From the digital billboards of Paris to the neon nights of Hong Kong, her creations have captivated global audiences, while Vogue’s pages have preserved her visions in print.
In this intimate conversation, Ticchio reveals the currents that shape her artistic journey—from the interplay of color and geometry to her bold predictions for art’s digital frontier. Here stands an artist not just creating work, but crafting the future of creativity itself.
Can we start at the beginning? Could you give me an overview of your process—how you begin a piece and how you decide on the color aspects?
Sure. It starts pretty organically throughout my everyday life. Even if I haven’t decided on what artwork I’m creating—or even the idea—I’m constantly capturing colors and combinations I see in the world. For instance, I might be walking down the street, and there’s a frosted window with two signs behind it creating this duotone illumination. Little things like that catch my eye, and I’ll take photos to capture them.
When I actually begin working on a piece, I usually start by sketching compositions and doing a lot of drawings, often outdoors in nature. I’ll create hundreds of sketches before even sitting down at the computer. By the time I do, I usually have a strong idea of the composition I want because I’ve drawn it compulsively. Then I pair those sketches with visual references I’ve gathered, especially for the color palette.
Once I sit down at the computer, I often use a VR headset to sculpt. It’s fascinating—almost like working with clay. Have you ever used something like Oculus Medium?
Yes.
It feels liberating. As a creative, I love using my hands and having that tangibility – there’s such a connection in that process. With digital art, it can often feel the opposite, so I’ll intentionally lean into more natural, tactile processes and influences. Even though being at the computer is obviously essential to tie everything together, most of the ideation and gathering of colors and inspiration happens in my daily life. I’m always observing.
At the computer, I start assembling, and once I’m happy with the elements, I move into Cinema 4D for 3D animation. There, I construct and composite the sculptures, adding lighting and materials to bring everything to life. Vibrant colors often become the focal point, and that’s something I love exploring.
You mentioned starting with monochromatic art before transitioning to color and digital. Can you walk me through that evolution?
In the beginning, my work was hand-illustrated—black and white. I always used pencil or pen for those deep blacks. It was mainly portraits with surreal elements, like faces pulling apart or melting. I’ve always loved distortion, and pieces like Escher’s Hand with Reflecting Sphere inspired me.
But being black and white, everything felt a bit… heavy. The process was enjoyable, but the result didn’t evoke the inspiration or emotions I wanted. When I discovered 3D and digital art, it was like a revelation. Suddenly, I could explore color and dimension in ways that felt restorative and uplifting. It brought a meditative quality to my work that I hadn’t experienced before.
How much of your color choice is instinctive, and how much is calculated for emotional or psychological effects?
A mix of both, honestly. I love exploring duotone lighting and complementary color combinations, like pink and green or orange and blue. It’s about balancing warm and cool tones to create depth and surrealism. Some of it is instinctive—it just feels right. But other times, I’m more deliberate, thinking about how colors evoke emotions or interplay in unexpected ways.
Your work explores digital and physical spaces. Do you think digital technology is reshaping how we perceive space and color?
Absolutely. A great example is the Light and Space movement—artists like James Turrell creating these ethereal, boundless spaces that focus entirely on color. Digital technology makes this type of art far more accessible. With VR headsets, for instance, people can have immersive experiences that were once tied to specific locations. It’s a game changer.
Spending so much time in digital spaces, do analog colors feel less vibrant by comparison?
Definitely. If I’ve spent hours in VR, the world can feel muted when I take the headset off. But I think that vibrancy in digital spaces works best as a contrast to the natural world. It’s not something I’d want all the time—it would be overwhelming.
As screens become more ubiquitous, do you think natural colors risk being overshadowed?
It depends. In gray, urban environments, screens can add much-needed vibrancy, and that’s a positive. But in naturally colorful settings, screens might detract from the environment. It all comes down to how they’re used. If done thoughtfully—curating beautiful gradients or art instead of overwhelming ads—screens could enhance public spaces without overshadowing nature.
What’s your favorite color, and why?
I love pink and green together—specific shades in specific proportions. The interplay is dynamic and balanced. But I’m picky about the shades! If the green is too swampy, for example, it throws everything off. It’s a very personal, nuanced preference.
Thank you for your time and thoughts. This has been fantastic.
My pleasure. Thank you for the opportunity!
ALL IMAGES CREDIT: Jessica Ticchio
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