Matthias Blonski brings a fine art approach to his multidisciplinary professional and personal work. His focus is on minimalism so that the viewer is not distracted by unnecessary aesthetics.
How did you get started in the visual arts?
I was interested in varying visual inspirations growing up; from photography because of my father, drawing as a childhood distraction, to realizing the reactions my friends had to certain brands over others. These led me to art school, eventually netting an internship that would inspire me to involve myself in multiple artistic disciples after graduating.
How did you get to where you are now?
Living in New York City helped my interests flourish into obsessions – meeting the right people, having constant exposure to people who you can’t help but emulate, and having the luck to work with some of the best multidisciplinary artistic talents in the world. I was especially lucky to gain experience in projects that let me explore and embrace provocative thinking.
How would you describe your work?
Minimal in the regard of un-necessary information. I don’t believe in superfluous aesthetics clouding what you are creating. This theme translates across most disciplines I work in; for example a preference for available light in photography, single colors as positive and negative space in painting and prints, etc…
Who else’s work has influenced or inspired your work?
So many creative and authentic people have heavily influences my life and work; designer Massimo Vignelli for his modern take on minimalistic design, Photographers James Nachtwey and Henri Cartier-Bresson for creating some of the most powerful images I’ve ever experienced while documenting horrendous injustices, Anish Kapoor and Damien Hirst with their unique approach to fine art, and the masters of their craft I get to work with everyday.
Can you tell us about your creative process?
I try to ground all my work in some sort of strategic thinking; whether to solve a problem or ask the right questions. Typically followed by erratic exploration with only a distant idea of the end result in mind. Reacting to what this process develops, I can then make decisions based on strategy and aesthetics.
What’s it like being a freelancer?
There are positives and negatives, but the thing I appreciate most is freedom to approach problems in different ways, constantly diverging my processes to keep the results unique. The major negative for most freelancers is lack of feedback and teamwork inside of a creative space.
What advice have you got for other freelancers?
Keep questioning yourself – it’s a great advantage to be able to question the way you work over large groups stuck in a process that cannot internally review their inner workings.
How do you grow and promote your business?
Word of mouth is still the best way, but that can be aided by other factors like a proper web presence, social media that targets your ideal clients or influencers, and tangible promotions like printed collateral (it still exists, and actually stands out now).
How did you develop your style, and how do you tailor it for each client?
My process being heavily influenced by something as erratic as fine art keeps my work just weird enough, and the strategic foundation helps it all come together and make sense. I crave contrast in everything I do – large and small, black and white, sound and hard, loud and quite, close yet far – nothing is interesting without contrast.
What areas of your work are you hoping to explore further?
I am currently focused on exploring fine art, and although I struggle calling myself a fine-artist – I appreciate the idea of exploring and creating for the sake of creating, not a client guiding your results or money influencing your decisions.
See more of Matthias’s work at: grfkstudio.com