Chelsea Odufu and the Dance of Creative Collaboration

Chelsea Odufu is a director and multidisciplinary artist known for crafting bold, culturally-resonant commercial and experiential work. She has directed campaigns for brands such as Dr. Martens, Target, Chase Sapphire, Chanel, Bose, and Walgreens, bringing a cinematic eye and deep storytelling sensibility to every project.

Rooted in her background as a visual artist working across film, sculpture, and installation, Chelsea approaches branded work with a distinctive aesthetic and emotional depth.

Her fine art practice, which has been exhibited at institutions including the Los Angeles Contemporary Art Museum, The Shed, Dakar Biennale, Christie’s London, Seattle Art Museum, and the Harvey Gantt Center, fuels her ability to build immersive worlds that are both conceptually rich and visually striking.

Whether creating a film, commercial, or a full-scale brand experience, her work always centres story, soul, and style.

Name: Chelsea Odufu
Location: USA
Repped by/in: Chromista

LBB> What elements of a script set one apart from another, and what sort of scripts get you excited to shoot them?

Chelsea> For me, it’s always about the feeling underneath the script. A great one speaks through the page – it pulses with rhythm, imagery, and soul. If it has a clear sense of world, tone, and emotional stakes, I’m in.

Scripts that feel alive and allow for layered visual interpretation or world-building are what excite me most. I’m drawn to scripts that carry a heartbeat – ones that don’t just tell a story, but vibrate with cultural, emotional, or spiritual texture.

LBB> How do you approach creating a treatment for a spot?

Chelsea> I treat it like an invitation into a new reality. I start with tone – how should this feel in the body? From there, I build a visual language, often weaving in references from fashion, music videos, cultural images, architecture, or nature.

I anchor everything in intention, then structure the treatment almost like a visual essay. It’s less about selling and more about conjuring: helping people feel the frequency of the story before it’s even shot.

LBB> If the script is for a brand you’re unfamiliar with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? How do you do it?

Chelsea> It’s crucial. I can’t authentically express something unless I understand the world it lives in. I’ll research the brand’s visual history, voice, mission, and market presence, but I also dig deeper. Who are they really talking to? What’s not being said? I want to understand both the culture and the counterculture. I spend time watching their audience, listening to the tone of the streets, and tuning into what resonates emotionally in that space.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Chelsea> The creative director or lead agency voice is key. That relationship sets the tone for everything else. It’s where trust, flow, and respect for the core idea live.

When that relationship is strong, it creates space for experimentation, clarity, and alignment so the idea can evolve in the best way possible. But I also really value my relationship with the DoP because, together, we translate spirit into image.

LBB> What type of work are you most passionate about? Is there a particular genre, subject matter, or style you’re most drawn to?

Chelsea> I’m most drawn to work that merges the metaphysical with the sensory: futurism, mysticism, identity, memory. I love when visual storytelling allows you to slip between dimensions, whether it's through surrealism, rhythmic editing, or symbolic world-building.

I’m excited by cultural specificity, movement, intimacy, and anything that centres the experience of those who often live in the margins.

LBB> What misconception about you or your work do you most often encounter—and why is it wrong?

Chelsea> People sometimes assume my work is too artistic or too experimental to sell a product. That’s a misconception. I believe deep feeling, cultural richness, and visual poetry are what move audiences. I’ve proven you can make work that’s emotive, visually distinct, and aligned with the brand without compromising vision. We don’t have to dilute the magic for it to be effective.

LBB> Have you ever worked with a cost consultant and if so, how have your experiences been?

Chelsea> Yes, and when approached collaboratively, they can be invaluable. I welcome anyone who helps us stay grounded in reality, especially when building ambitious or nontraditional concepts. That said, it’s important to protect the creative heart and ensure the cuts don’t erase the soul.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Chelsea> To be honest, pre-production through post always comes with its fair share of problems, but I haven’t faced anything catastrophic on set, thankfully. That said, one of the most important skills a director can have is knowing how and when to pivot. Pivoting isn’t just about problem solving; it’s about staying open, adapting quickly, and finding creative opportunities in the unexpected.

Whether it’s shifting a location due to weather, reworking a shot list at the last minute, or changing the tone of a scene based on an actor’s performance, being able to move with the moment – without losing the heart of the story – is everything.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Chelsea> I see it as a dance. I listen deeply to the intention behind the notes – not just the words but the energy. I ask questions to get to the root of what’s needed, then offer creative solutions that align with both vision and ask. Protecting the idea doesn’t mean being rigid, it means holding the core essence as sacred, even if the form evolves.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Chelsea> Absolutely. I wouldn’t be here if someone didn’t open a door for me. I believe we’re all part of an ecosystem, and if we want richer, more resonant work, we need more voices in the room. I’m deeply committed to mentorship and often invite emerging artists – especially Black, Brown, and queer creatives – onto my sets. The goal isn’t just access; it’s transformation.

LBB> Your work is now presented in so many different formats—how much do you keep each in mind while you're working?

Chelsea> I let each idea tell me what it wants to be. Some feel right as film, others need to live in space as sculpture or installation. I always think about how it’ll translate digitally too, since that’s often how the work travels and connects.

No matter the format, my voice and perspective are clear enough to come through, and that’s what keeps it all feeling connected to my creative universe.

LBB> What’s your relationship with new technology and how do you incorporate future-facing tech into your work?

Chelsea> I see technology as a spellbook. It expands what’s possible, especially for artists like me who like to mix the ancient with the futuristic. I’ve used AI to prototype sculpture forms, animate images I have made into deep mythical worlds, and find data to guide interactive pieces.

The tech has to serve the story, not the other way around. But when used with intention, it opens portals.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Chelsea> ‘Black Lady Goddess’ (narrative): A short film that merges mythology, Black femininity, and Afrofuturism into a visually rich, otherworldly experience. It’s the blueprint for my voice.

‘A Seat at the Throne’ (sculpture): A Burning Man sculpture born from film, reimagining African regality and power through physical design. It shows how I blend narrative and installation.

‘Moved by Spirit’ (video installation): A video installation for Dakar Biennale exploring embodiment, rhythm, and ancestry through dance and elemental imagery. It’s intimate and cosmic.

‘Shinzou’ (commercial directing): A travel episode in Japan that weaves Noh theatre, Taiko, fine dining, and cultural rituals into one lyrical journey. It’s me playing with form, frequency, and identity.