Jen Stark is the hyper-color artist bringing brilliant psychedelic stripes to billboards, galleries and even the sides of buildings from LA to Miami.

You might not know Jen Stark by name, but you’ve probably, at some point, come across her psychedelic public art. Whether it be the radiating pride flag she designed for the Standard in Downtown LA, the squiggles that surrounded Miley Cyrus for 2015’s VMA’S (the last time anyone paid the show any attention), or her enormous mural in Culver City, Stark’s work demands attention. The Miami born artist lives and works in Los Angeles, and there’s something of both cities in her vibrant color scheme and celebration of freedom both artistic and personal. When not working on the side of a building, she likes to work mostly with paper, which she stacks and cuts in intricate blocks. “I like to use the word psychedelic very broadly, because I think people get caught up thinking about tripping or cheesy art,” she says of her aesthetic, which is more inspired by naturally occurring geometry than tripping in a tent. “Through my work, I’m trying to create a bridge between all these magical things, and hopefully make a great discovery or inspire others.”

Here, Stark discusses the inherent magic of patterns, her burgeoning clothing line, and how it started with the Cabbage Patch Kids.

When did you first realize that you wanted to be an artist? Was there a specific moment or was it a slow dawning realization? 

Ever since I was young I’ve always loved drawing and making things. My grandpa used to have watercolor painting sessions with me. I remember once we even painted a portrait of my dirty old Cabbage Patch Kid doll. Even though I was very young, I remember him telling me my painting looked better than his, and I was like, “Wait a second, I really might be able to be an artist! [laughs]” He helped fuel my passion for it. He was an artist—a realistic painter, who liked to paint things like sailboats, the everglades, landscapes and birds. My parents also nurtured that creative part of me, and put me in art classes throughout my whole life. Anytime I was ever asked what I wanted to be when I grew up my response was: an artist.

Has your work always dealt with the psychedelic? Is there a psychedelic inspiration behind your work? 

My work definitely has always had a psychedelic influence. I like to use the word psychedelic very broadly, because I think people get caught up thinking about tripping or cheesy art. I’m interested in the more spiritual and nature based side of these psychedelic themes. I’m very inspired by sacred geometry and tapping into that with my own work. I’ve always had a deep fascination for nature and how it relates to science and spirituality. I feel there is a parallel between different shapes within our universe: like how the Fibonacci spiral equation relates to so many things in nature, from the shape of shell, to how a fern unfurls. Lately the psychedelic world and the mysteries of consciousness are things that have been most prevalent in my work and thoughts. Through my work, I’m trying to create a bridge between all these magical things, and hopefully make a great discovery or inspire others.

What drew you to working with paper? I love how it looks so futuristic but is in fact made from this very essential material. 

The beginning of the paper sculptures happened in the south of France, Aix-en-Provence. I decided to study abroad there for a semester during college (2004), so I brought two suitcases full of clothes and decided to purchase art supplies in France. The euro was very high so when I went into the art store I decided to buy one of the cheapest materials, but one that had potential. I purchased an assorted color stack of construction paper and began experimenting in my studio. Eventually I began turning them into 3-dimensional sculptures. I love how common and versatile paper is. It’s in everyone’s daily lives and people tend to overlook the amazing things it can do and be transformed into. I also love the idea of taking something that’s 2-dimensional and flat and making it 3-dimensional and intricate.

How do you go about creating a piece? Do you design it on a computer first?

The process depends on the material and concept. Usually I draw things out in my sketchbook first. I really love looking back at these books and seeing all my past ideas and thoughts. It’s almost like a diary, and timeline of my life. The paper sculptures are all hand done (no computer involved) and are very time & labor intensive. Each sheet is cut one by one. When I create artwork in metal, plastic or wood, usually computer work is involved. I’ll draw the design out on a piece of paper, scan it in, then trace it on the computer. Then I’ll have a vector file that I can get cut out by a CNC router or a waterjet machine.

Tell us a little about how you came to create the pieces for Miley at the VMA’s—was it a collaboration?

Working with Miley Cyrus & MTV was a fun cosmic coincidence. I had met her one night through my friend Wayne Coyne (Flaming Lips) and a couple days later (separately) MTV was pitching my work to her for the VMA’s. I got a text from a random number and it was Miley asking me if I wanted to design artwork for the VMA’s. It felt like it was meant to be and a good psychedelic match. She has a very creative vision and is a free spirit who speaks her mind and knows what she wants. Both she and MTV gave me a lot of creative freedom on that project. I pretty much presented them with ideas, and they chose their favorites. The final say came down to what Miley wanted, and she was really great with allowing me to push my creative vision. That project was surreal and really helped my art grow and think outside of the box. I’ve had a lot more eyes on my work because of that exposure which has been amazing.

What is it that you love about large scale work? I’m thinking about your mural at Miami Airport and various times you’ve got to do the sides of buildings. 

I love the physicality of the large scale murals. It’s really awesome to get out of the studio and create my work on a large scale outdoors. I also love driving the big machinery – scissor and boom lifts. It’s fun to see my work transform from a drawing in a sketchbook to a huge painting on a building.

What’s next? What would be your dream project? 

My dream project would be a large scale renewable energy public sculpture. I’d like to create a public artwork that gives back and does something positive for the environment and our future. I love how artwork can changes people’s perceptions and allow them to question and become inspired, but I would also like it to give back to the world in a more palpable way, and help out our planet.