Page 71 - Reader's House magazine

Matt Gondek’s visionary Deconstructive Pop Art boldly disrupts iconic imagery, combining playfulness with a punk spirit to redefine pop culture’s symbols. His art merges vibrant colors with deconstructed icons, embodying rebellion and critique. In this interview, he discusses punk roots, art business challenges balancing approachability with dark themes of anarchy and pessimism. Matt Gondek, an innovator in Deconstructive Pop Art, has established himself as a defining voice in contemporary art, reshaping the way we interpret icons of pop culture. Known for his audacious style and unapologetic dismantling of familiar cartoon heroes, Gondek’s work pairs a viv- id, punchy color palette with a punk ethos that celebrates rebellion and critiques the allure of mainstream idols. His art, a fusion of high-energy destruction and nostalgia, is both a tribute and a deconstruction of modern mythologies, challenging viewers to reconsider the value we place on cultural icons. Gondek’s pieces have captivated audienc- es worldwide, leading Matt Gondek on Art, to sold-out exhibitions in cultural hubs like Los Angeles, New York, Paris beyond. In this interview, Gondek opens up about his DIY beginnings, the inspirations drawn from childhood heroes his unapologetic approach to the art business. Gondek reveals what it means to be a self-made artist in a world of gatekeepers, explaining how he balances the practicalities of the art industry with a raw, unfiltered creative voice. How do you define “Deconstructi- Pop Art,” and what elements do you believe are D R A F T Icons Anarchy The artist reveals his DIY journey and punk rock influences As a self-taught artist, what challenges have you faced in developing your voice how have you overcome them? The higher up the ladder you go in the art world, the more doors are in your way - and it really is all about who you know. The biggest challenge I faced starting out was that I didn’t know anyone. ve essential to this style in your work? I spent a lot of time in punk bands I learned about DIY ethics. I’ve always leaned that way – I question authority and tear down hierarchy, so that’s where the deconstruction part comes from. The icons come from my childhood heroes like Mickey Mouse and Bart Simpson. I tear down these icons through my work, so that’s deconstructive pop art. like how he took comic books and cartoons and turned them into fine art using the same printing methods – it’s fascinating. Your work features a vibrant colour palette and play- ful tone. How do these choices reflect your message or critique of societal norms? I use bright and poppy colours because it makes the work more approachable and digestible. By painting things bright and fun, I’m able to reach a wider audience while still dealing with things like pessimism, addiction, anarchy, etc. Through your podcast, Clean Break, you discuss the business aspects of creativity. How do you balance the commercial side of art with your artistic integrity? I don’t balance them - because I’ve always been of the mindset that I make artwork to sustain myself. I think most artists WANT to quit their jobs and solely support themselves off of their art, but they don’t know how - or are to afraid to make the changes to do it. That’s what the podcast is about - how to make those changes. Can you share the inspiration behind your unique approach to deconstructing cartoon icons and pop culture figures? There’s been a few. Andy Warhol, who’s from Pit- tsburgh, like me. He didn’t influence me in the sense that our styles are the same, but he influenced me in terms of the networking and business side of the artwork and his business acumen. Also Roy Lichtenstein and his Ben-Day dots were a key influence. Lichtenstein is my favourite artist I What role does your punk rock spirit play in your artistic process and the themes you explore in your work? The biggest takeaway from punk rock is the Do-It- Yourself mentality. When I began as an artist I put on my own shows, made my own clothes and prints, etc. Now, the anti-authority and self betterment side of Punk comes through more in the work. Reader’s House II 71