Production Design, Art Direction, Sculpting Coordination, Fabrication

With over 30 years of industry experience, spanning across multiple areas of production, leading large teams of artists and craftspeople nationally and internationally to curate immersive environments for award-winning feature films and television.

SPECIALIZING IN

  • SCULPTING COORDINATOR

    Leadership and Coordination of large interdisciplinary teams of artists and craftspeople, management of complex budgets, fabrication and material selection.

  • ART DIRECTION

    Supporting production visions, coordination of design teams, management of timelines, budgets and collaboration across multiple creative departments.

  • PRODUCTION DESIGN

    Creative design and visual concept development through collaboration through a research-driven practice.

  • PUBLIC ART

    Interdisciplinary approach to crafting, fabricating and realizing public-facing art installations.

  • FABRICATION

    Conceptualizing, drafting and fabricating specialized components for film, contemporary art, and independant contractors.

  • “This is a recommendation for Aaron Jordan be accepted onto the IATSE 891 Art Department roster as an Art Director. I have worked with Aaron many times in the capacity of a head sculptor and believe he has the skills required to step into an Art Directing role. He has a great eye, has managed larger crews than most art departments and has often been left to sculpt intricate sets with minimal information, requiring him to make both aesthetic and logistic decisions. I have recently recommended him to a designer […] I feel he would be an asset to the roster.”

    Don MacAulay

    Supervising Art Director, Production Designer

    IATSE 891

  • “Aaron and I worked closely together on all three seasons of Netflix’s “A Series of Unfortunate Events”. It was in season three that Aaron and I did what I consider one of my best props in my thirty- four-year career, the 1950’s Diving Bell Helmets. The challenge was the real ones weighed 65 pounds. We had to put our helmets and breast collars on two teenagers, and a three-year old. The challenge for Aaron was to sculpt the prop, with weight and finish and durability in mind. At the end of the day, the entire helmet and attaching collar ended up weighing 4 pounds and the Props looked amazing and were tough. Since then I have used Aaron for a number of specialized small builds that are incredible. The great thing about Aaron is he has an Art Director’s brain. When I talk to Aaron, his knowledge of building makes him a natural candidate to work in that capacity on a show. There is an ease and confidence to how he works, and work he produces is as good as any I have seen in my career.”

    Dean Goodine

    Property Master

    Netflix: A Series of Unfortunate Events