Exploring Purposeful Art: Julia Comita’s Journey as a Photographer and Art Director

Could you explain why you’ve consistently utilized your creativity to highlight sociopolitical matters?

It hasn’t always been this way. I pursued photography academically, and subsequently relocated to New York with aspirations of entering the fashion industry. This was circa 2011. I arrived and began as an intern, then progressed to assisting. As I delved deeper into the field and witnessed the backstage dynamics, I found myself disenchanted by the absence of community and its superficiality. I began to shift my focus towards beauty, which coincided with the Black Lives Matter movement gaining traction, particularly following the murder of Trayvon Martin and other tragic events in 2015 and 2016, during which time we were engaging in public discourse about systemic racism in America. I utilized that dialogue to reflect on my own contribution. Until then, I had never—being a white, privileged individual—considered that aspect.

I began scrutinizing my own work and recognizing that I likely contributed to the dilemma of an all-encompassing beauty standard since I predominantly collaborated with the stereotypical thin, young, white, cisgender female. Around 2015, I adopted a proactive approach in my personal endeavors, declaring, “I will not contribute to that any longer.” Although [you] have limited flexibility with [paid work] as you’re working for a client, I felt empowered in my personal projects to make decisions regarding casting, who I would work with, and crafting intentional pieces. As creatives in New York City, everything promotes itself through Instagram, whether to a niche audience or a vast one, and I believe there’s a level of responsibility intertwined with that.

Following Trump’s first election, I observed many individuals in Brooklyn attempting to engage in organizing and amplifying their political views within their work, but they often experienced burnout within a few months. Your trajectory with politics in your work seems to contrast that; what guidance would you offer to creative individuals wrestling with a similar realization, wishing to prioritize more progressive politics in their artistic output?

As someone actively working in the commercial sphere—alongside Brenna [Drury, makeup artist for Prim ’n Poppin’] and many of my other partnerships—I understand it can feel disempowering when external forces dictate what you’re able to accomplish. In such cases, I encourage casual discussions with creative professionals who could be influenced to rethink the messages conveyed through their work or the types of individuals they choose to cast… Sometimes, simply planting a seed of an idea for those in the creative industry associated with corporate can be quite beneficial.

Additionally, [I suggest] asserting your influence as much as possible in personal projects. For me, that has manifested as collaboration. I’ve taken an interest in numerous issues that don’t necessarily impact me directly. In the process, I’ve cultivated myriad discussions and connections with various communities that I collaborate with. Therefore, much of my work can be seen as partnership-oriented. For instance, with Prim ’n Poppin’, Brenna and I teamed up to create this project. I would never claim to work in isolation or that it’s solely mine. [Collaboration] can foster significant conversations about, “What messages are we putting forth? What is significant to you?”

I recently undertook a project focused on voting, collaborating with a queer couple who are immigrants, and it was their first opportunity to participate in an election. We engaged in various conversations I hadn’t previously considered, which imbued the project with new significance within that context, and this wouldn’t have occurred if I hadn’t chosen to partner with them.

How do you manage your time between commercial projects and passion-driven endeavors?

As I have matured, I’ve opted for [fewer] projects while ensuring those I take on are deeply significant. In the past, I used to do casual photography more frequently, but those projects demand substantial time, resources, planning, and post-production—which necessitates funding—but they weren’t necessarily well-crafted, or the messaging was minimal. If I dedicate time to unpaid personal projects, which hold great importance for me—especially, once again, in light of the political climate—I aim to invest that time in something impactful and significant.

Whether it’s several projects annually that you devote substantial time to or even dedicating one day a month, if that’s feasible for you, that’s excellent. Striking a balance can be challenging; the more paid work you undertake, the less energy remains for personal endeavors. I also believe it’s vital to accept the changing seasons of your life and career. Feeling guilty isn’t constructive.

Regarding Prim ’n Poppin’ a bit further: there was the 2021 campaign, followed by a 2024 campaign coinciding with the election cycle. Did you question, “Is this still worth engaging with, depending on the outcome of the election?” What reflections were you considering while thinking about reviving the campaign?

The project has always revolved around diversity, equity, and inclusion principles. The reason for our pre-election discussions on relaunching was the observed decline in DEI within advertising and beauty. There was literally a downturn in the opportunities available to models we know. Advocating for talent is the cornerstone of our initiative. We were increasingly noticing and hearing—not only through visual observation on set, but also from models who are trans or disabled, for example—that they weren’t securing as many roles, resulting in a stark decline compared to prior years. Between 2019 and 2022, we experienced an inclusivity surge. It appears that post that period, interest waned, people grew disinterested, or felt like, “This had its moment; it’s no longer trending, so why pay attention?”

[The campaign has] perpetually served as a platform for discourse irrespective of the election results. It wouldn’t have implied that discussions surrounding inclusion would become any less vital. It merely happens that, following the election outcome, these discussions are even more crucial, timely, and pressing.

The press release I received regarding the relaunch of Prim ’n Poppin’ refers to the 2021 campaign as “immensely successful.” How do you define success, particularly regarding personal initiatives? Is success merely igniting conversation?

We gauged successin regard to the level of exposure we received and, consequently, the quantity of individuals discussing it. We observed that significant outlets like the Guardian published articles, and we monitored the incoming comments, which was quite fascinating to witness a specific fraction of the feedback [being] notably positive. This led us to feel, “This seems like it was exceptionally necessary. Many individuals want to engage in these discussions.” Conversely, there was a portion of remarks that were rather negative, as you can probably predict. Troll-like individuals making quite harsh statements. Despite the excitement and that being excellent, it’s clear we still have work to accomplish.

Your artistic approach is very vibrant and audacious. How did you arrive at that approach?

It’s simply what draws me in. It’s as straightforward as that. I’m not inspired by plain colors. I prefer deliberate color—intense, purposeful contrast. Subtle, smooth, and natural hues don’t captivate me.

Is this something you’ve always recognized about yourself, or did you have to reach that understanding?

I used to—many years ago—exclusively work in black-and-white, and it was consistently high-contrast. At that period, I was determined not to use color until I thoroughly understood it enough to apply it purposefully. This is merely my personal view, but I believe if color isn’t going to enhance what you’re creating, what’s the rationale? I think color can be extremely distracting, especially in photography. If you’re not going to be purposeful with it, capture it in black and white. I’ll gain the understanding I need without being sidetracked by color.

You also engage in video production and create GIFs. When contemplating a project, how do you determine which of your mediums is suitable?

Creating video can be very financially burdensome. I only completed my first personal project that involved filming recently. Two projects I have worked on in the last few years that incorporated motion were not client-driven, which was my first opportunity to express my creative direction in that medium. All preceding video projects have been client-oriented because they have the funds for it, and producing video—at least in the manner I aspire to with strong lighting and color—requires a certain budget. Photography has been significantly more accessible for me in that respect, as have GIFs. GIFs just demand more time on the backend. Photography has been the simplest medium for me to navigate. If I sense that it’s fitting to create a GIF or an animation, I proceed with it.

How do you discern when a photograph—referring to the edited image—is finalized?

It took considerable time for me to reach a point where I could declare something finished. It’s fundamentally instinctual. Through years of practice—and I have experience working as a professional retoucher—I recognize when [I’ve] overdone it. Additionally, considering people’s attention spans, no one will care as much as you, the artist, do. My concept of “finished” surpasses what many others would likely regard as “finished.”

One aspect that’s been quite beneficial for me as a creative is this ability to perform a gut check, whether I’m on set or engaged in post-production. In my everyday life, I lack that same level of intuition, just relying on my gut.

What is your process for initiating a photography project?

Due to my collaborative working style, it typically starts with a dialogue [that] will lead to a series of actions, and for me, that subsequent step usually involves drawing inspiration. I’ll reference the Freedom Project, a political initiative I collaborated on recently with acrobats, as an illustration. Their focus is on what they accomplish with their bodies, which isn’t my expertise. My expertise is in photography. It was their responsibility to approach me with a concept of “We want to position individuals in this manner.” I took that and said, “I have these references that greatly inspire me. I desire the lighting and color to progress in this way.” I outlined, for each one, my strategy.

Is there anything more you wish to express about Prim ’n Poppin’?

Regarding tackling matters politically or utilizing your art as a form of activism, I have discovered that it’s much more manageable to engage a broader audience if you’re crafting work that is aesthetically pleasing, something that doesn’t repel a viewer. There exists a place for that type of work, and that work holds significance, but in my situation, if your goal is to not merely preach to the already converted but to connect with individuals who may not share your beliefs or aren’t as informed about a particular subject or community but are receptive, you strive to meet them halfway. You want to engage with them where they currently stand.