Travis Jeppesen is an American novelist, playwright, poet, artist, and art critic. He is known, among other works, for his novels Settlers Landing and The Suiciders; a non-fiction novel about North Korea, See You Again in Pyongyang; and for his object-oriented writing work, 16 Sculptures. He also wrote the 2014 feature film The Coat, directed by Christophe Chemin.

Travis Jeppesen was born in Fort Lauderdale, Florida, and grew up in Charlotte, North Carolina. As a teenager, he studied writing under the playwright Naomi Iizuka. He later attended college at The New School, where he studied literature and philosophy. Upon graduation, he moved to Europe in 2001.

Jeppesen's first novel, Victims, was selected by Dennis Cooper to debut his Little House on the Bowery series for Akashic Books in 2003; a Russian translation of the novel was published in 2005 by Eksmo. Written in a Southern Gothic vein, the novel is inspired in part by the UFO religious cult Heaven's Gate, which he researched extensively while working on the book. With its use of multiple narrators, dark absurdist comedy, and what Michael Miller, writing for the Village Voice, deemed its "schizophrenic logic" and "gleefully unique syntax," critics compared the novel's style to authors as diverse as William Faulkner, Kathy Acker, and Jean-Paul Sartre.

Jeppesen followed Victims with a collection of poetry, Poems I Wrote While Watching TV. It was described by one critic as "synesthetic, kinetic poems hypersaturated with mass culture images, delivered in a tone that manages to sound simultaneously surreal and conversational." A second collection, Dicklung & Others, appeared in November 2009. That year, his play Daddy premiered at Hebbel am Ufer in Berlin, starring Vaginal Davis.

Jeppesen's second novel, Wolf at the Door (Twisted Spoon Press), was completed during a residency at the Slovene Writers' Association in Ljubljana, and appeared in 2007. The book consists of two separate plot lines that never intersect. One concerns an aging artist suffering from a terminal illness who has removed himself to a small cabin to live out his final days, his sole contact being with a deaf-mute gravedigger with whom he is unable to effectively communicate. The second story centers on the nocturnal wanderings of a former porn star, who may or may not be a serial killer, in an unnamed Eastern European city. With its morbid themes and depictions of violence, the novel alienated many readers. Others, such as the writer Noah Cicero, championed the novel for its originality, dark humor, and linguistic ingenuity.

Jeppesen's third novel, The Suiciders, is considered by many to be his wildest book, with "writing that can go almost anywhere at any time," in the words of Blake Butler, though it can also be considered as a 21st-century continuation of the grotesque body tradition of Gargantua and Pantagruel and Don Quixote. Subsequent to its publication, he performed “marathon readings” of the entire novel, lasting eight hours without pause, at the Institute of Contemporary Arts in London and the Whitney Museum of American Art in New York.

Jeppesen's critical writings on art, film, and literature have appeared in Artforum, Art in America, Texte zur Kunst, Flash Art, New York Press, Bookforum, The Stranger, and Zoo Magazine. He is the recipient of a 2013 Arts Writers Grant from Creative Capital/the Warhol Foundation. A collection of his art criticism, Disorientations, was published in 2008; subsequently, Jeppesen launched disorientations.com, a "one-man art magazine." As of 2020, Disorientations also includes links to Jeppesen's published art reviews and essays online, as well as miscellaneous poetry, fiction, and essays he has written, much of it previously only available in print form.

In October 2011, Jeppesen announced that he would be shifting the focus of the website to explore his notion of object-oriented writing, a new form of writing he invented in response to his feelings of frustration over traditional art criticism. Over the next few years, Jeppesen worked on the development of object-oriented writing as a hybrid creative-critical practice. In its proposition of a metaphysics of art writing, object-oriented writing could be thought of as a parallel creative practice to object-oriented ontology and speculative realism. It locates itself within the work of art, rather than outside, and attempts to infest the inanimate art object with human agency via the act of writing. In 16 Sculptures, Jeppesen re-created sixteen sculptures, from throughout the history of art, in the medium of language. The texts' style range from monologues, dialogues, rants, songs, poems, and epiphanies, among other, more hybrid or inventive forms, all of them evasive of the tropes of traditional art criticism. 16 Sculptures manifested in the form of a published book, but also an audio installation, in which visitors to the gallery sat in chairs and put on black glasses that blocked out their vision and listened to audio recordings—or "evocations"—of the texts on headphones. Early on in the project, Jeppesen also intended a limited edition vinyl release consisting of sixteen records, but to date this has not happened. In 2014, 16 Sculptures was featured in the Whitney Biennial and in a solo exhibition at Wilkinson Gallery in London. Excerpts from 16 Sculptures, translated into Mandarin, were recorded and featured in a group exhibition in Beijing.