The graphic design world has transformed. The media used has changed. The artwork of Jenny Phillips has evolved over time into what is now the beautiful pieces you see around DIAKADI.

Find out what media Jenny used, learn about the tools she currently uses, get a glimpse into how she became the artist she is today, and see more of her gorgeous designs.

Welcome back Jenny Phillips.

Jenny Phillips headshot.jpg
Drawn to quietness, subtlety and understatement, I strive to evoke the
mood, luminosity and texture of space, light and organic form. My work
is about feeling, rather than ideology or narrative. It explores the subliminal emotions brought about by our reactions to the environments that surround us."



“I have always loved making things."



"After graduating from college I landed my dream job working at the Brooklyn Academy of Music, working in their visual communications department. Back then our primary tool was an x-acto knife. As the graphic design world became less tactile and more digital, I increasingly turned to painting and printmaking to retain a physical sense of connection to the work I was producing. One of the mediums I continue to explore is encaustic painting, which involves a very tactile manipulation of a wax surface. Interestingly enough the x-acto continues to be tool of choice, and many of my encaustic pieces are created by rubbing ink into marks on the wax created through the use of an x-acto blade – a process not dissimilar to drypoint etching.

My encaustic work led to the creation of works that combined wax, watercolor, inks and paper, and this in turn led to explorations involving the manipulation of Japanese Mulberry paper. As I began to document the process of working with Mulberry paper, I realized that the fragility of the medium meant that the photographic record would endure, whereas the work itself would not. One example might be some of the creations of Andy Goldsworthy: although his San Francisco works are designed to endure, many of his constructions (using twigs, icicles, wet leaves) are long gone, but his photographs of them remain.

My father passed away when I was in my early twenties. He was a professional photographer, typically working on assignment in far off places for magazines such as Life, and Town and Country.  He would take me along with him on some of his trips – to Europe, Puerto Rico, Antigua and Bermuda. Perhaps it is a memory of his work that prompted me to start taking photographs of my work process, leading to the realization that the photographs are themselves the work.

So right now I’m still busy making things. I cut, paint, form and fold sheets of mulberry paper. The repetitive shapes are combined and superimposed to create evanescent assemblages that can only endure in photographic form. Shot using natural light, the photographs echo the meditative and repetitive spirit of the original work. 

In some ways I’ve come full circle, but the circle is most definitely not closed. What started as documenting the process of making becomes an end in itself, capturing moments in time that evoke imagery from nature - fallen leaves/petals, pebbles, water, ice and snow. The works live only for a brief moment, sharing in the impermanence of these natural phenomena, but the photographs endure.”