How Maris Jones Brought Chappell Roan's 'Pink Pony Club' to the Grammys

How are you feeling in the wake of Chappell's win and speech and reception to the performance?

I’m beyond blown away by her resilience and strength. She truly deserves it all, and the fact that she uses her platform to speak out on such important issues is unbelievably moving. The more we talk about these unfortunate realities, the less we can turn a blind eye to them. She will be a huge force in changing the standard of what we tolerate because what she says is true.

Your work has so much whimsy and playfulness and a real spirit of wonder. Where does that come from for you and how do you continue to develop it?

It all comes from my childhood obsessions, shortcomings, and dreams. I continue to develop it by not thinking too hard about how I want something to look. Instead of saying, “Hey, I want to make something in this specific style,” I say, “Hey, I want to make something with these themes,” then I close my eyes and just go for it. I also have cerebral palsy, which affects how I process information and tends to make me approach ideas and execution in a slightly backward way. I’ve really leaned into that in recent years. I used to see it as a shortcoming, but now I realize it’s actually a fun quirk that shapes my creative process. I also just love subtly combining different ideas to make something new. In the end, I try to work on projects I’m truly passionate about!

Your practice utilizes so many various materials and mediums to bring your works to life. Do you have a favorite to work with?

Honestly, I love all the tools for different reasons and also for that singular reason that when you combine them, you get this really cool end product. But if I had to pick a favorite, it would be the camera. I love the editing process — taking footage and stitching it together, whether I’m animating straight from my computer, photographing my sets, or shooting videos. It’s usually how I get to my final piece.

How did you connect with Chappell initially?

We found each other through social media and she reached out when she needed a set for her late-night TV debut!

I also saw an incredible sneak peak of what’s to come on Sunday. Did it feel special to literally bring Chappell’s “Pink Pony” to life like that?

It felt like a huge undertaking, honestly. Previously, all the pieces I designed weren’t tied to a specific association. With something like the Pink Pony, you want to do right by everyone’s idea of what it should be, but at the end of the day, this is a fun, important and colorful campy celebration — so of course the horse had to be a little ridiculous. I try hard not to overthink it and just focus on what we’re going for. You can’t make everyone happy!

The vehicle you made for it looks no joke!

There’s nothing more iconic than combining girly fun, a hint of gold and marble elegance, and Hot Wheels, baby!

Did Chappell have any ideas, suggestions, themes that she was really wedded to and insistent on when developing the concept with you?

We bounced ideas off each other first and also brainstormed a bit with her lovely creative director, Ramisha Sattar. The Rodeo theme kept popping back up, and then Chappell took it to the next level with the Trojan horse idea. The brainstorming phase is always super open and exploratory, which is so fun and exciting. At the end of the day, it’s about having a great time and creating something special. Often everything just falls into place so effortlessly, which makes this job all the more incredible.

You’ve worked on so many of Chappell’s iconic performances and sets, like her The Late Show appearance and the Governor’s Ball apple bong. Even my favorite, the whimsical fairy set for The Tonight Show. Do you have a favorite project of all of them?

Oh man, they each hold a special place in my heart for different reasons. It hasn’t even been a full year since we did our first late-night spot, which is insane, so I see each performance as the next phase or stepping stone — almost like watching a phoenix rise. The apple bong at Gov Ball was such an iconic and impactful moment. It was fun because so many friends and creatives helped put the apple together; it truly felt like a community effort. We had no time to rehearse. We just rolled out on stage, and it was all so crazy. When she emerged from the apple, I was speechless. The energy from everyone was electrifying. Also, I love weed.

What do you think works so well between you and Chappell creatively? And how has your work together inspired or helped to grow your own artistic practice outside of your collaborations?

I think we might approach things from similar places. For me, I lean into my childhood loves and like to follow what excited me back then. We both share that nostalgic approach, and we’re big fans of outrageous themes, extremely fun and ridiculous vibes and the joy and power of drag performance — but we also take it seriously. It’s a delicate balance of absurd camp and refined visuals. Chappell surrounds herself with so many hardworking, talented creatives, which really helps build out the worlds on stage. Everyone I work with on the team is a powerhouse in their field, so that combination helps sell the complete vision.

For the Grammys, I’ve been working alongside incredible talents in our creative department: Ryan Heffington with his choreography (I was literally moved and laughing during rehearsals), Tobias Rylander with his conceptual and beautiful lighting design and Genisis with the styling — every time she shows me an outfit, I’m floored. This job has really shown me how cool it is to be part of a puzzle that when all the pieces fit, reveals a whole new vision. Before this, it was just me alone in my studio, so it’s exciting and inspiring to collaborate with amazing people. It makes me want to push harder, refine even more, and keep creating visually inspiring work.

Photography courtesy of Maris Jones