How did you get into making art?
From a young age I have always gravitated towards visual arts. I need to credit my grandfather who gave me his old soviet Zenit analog camera around 1998. With it, I discovered that I could not only document but also showcase my personal interpretation of my surroundings. Running to the lab with a 36 Kodak film roll brought joy. I was 14, and it all came from a place of fun. Years later, I ended up doing graphic and motion design, working commercially for TV networks and advertising agencies. During this time photography was always at the back of my head but I didn’t use it as a means of personal expression nor thought of it as an art form.
In 2014, influenced by much stress, suffering from anxiety and panic attacks, I wanted to find a means of escape. I started travelling and always took a camera with me. I walked through cities observing people and moments, and started expressing my emotions through visual storytelling. My candid, seemingly documentary photographs had a veil of alienation, longing and uncertainty. Single subjects lost in sterile urban landscapes reflected my own state of mind. You could say escapism was the initial driving force behind the art I create today.
What are you currently working on?
I’m currently in between projects. Although my personal work is still most dear to me, it’s still greatly interrupted by extended periods of commercial work. I do find this balance rewarding in a weird way. When approaching a new personal project, I don’t feel creatively burned out, but positively anxious to get back to a new artistic exploration.
My most recent project, at the beginning of 2024 was La Vida Lenta — a journey through small-town Mexico focusing on the idea of Slow Living. Candid scenes embracing the unhurried rhythm of life. An exploration of the gentle flow of daily existence. Moments which unfold at their own leisurely pace. An encouragement to pause and breathe.
As with all my work, I influence these real moments with my subjective frame of mind and intention, whether it’s through meticulously crafted compositions or a distinct visual post-production aesthetic. Somewhere halfway between documenting and storytelling is a space I feel most comfortable in.
Somewhere halfway between documenting and storytelling is a space I feel most comfortable in.
Krzysztof Bednarski
What inspired you to get started on this body of work?
My current body of work consists of many short excursions, each with a different intention but all connected by common underlying themes and a personal aesthetic. I have always been heavily inspired by architecture. Urban spaces which are often disregarded influence and enrich my work. At the same time, the human component is crucial to me. Most of my work explores the intersection of the two. A visual investigation into people’s relationship with their surroundings, how people and places come together, depending on the environment I am currently diving into.
As for inspiration for each series, I have always been heavily influenced by music and cinema. Sounds and frames associated with the specific cultural environment I’m currently exploring. Doing a project in California you could find me with e.g. Joni Mitchell in my ears. I believe this connection translates into my photography, making it more about the feeling of the image rather than its documentary aspect.
Do you work on distinct projects or do you take a broader approach to your practice?
When I started my personal photography work, I had a broader thematic approach. Photographs would sometimes flow from one series to the next without a clear boundary between them. Images created 2 years apart would still fit together. Over time, I’ve tried to be more concise and separate my work into more specific themes. Whether it’s a short story on solitude in New York, urban isolation in Tokyo or the idea of slow living in small-town Mexico, I try to focus on an idea I can realize short-term. I guess it’s hard for me to focus on one topic long-term as I’m always eager to start a new project.
What’s a typical day like in your studio?
I would like to think of the city as my studio; it’s where the work comes together. The reality is that much more time is spent before and after travelling. I start by looking for places that offer an opportunity to tell a story and fit the aesthetic I’m pursuing. I try to immerse myself in the sociocultural environment of the places I’ll be exploring. I also prepare practically searching for specific locations through Goggle Maps. This is a bit of a hit-or- miss but nevertheless a helpful tool.
Post production of images takes up a big chunk of time as well. My particular color aesthetic of flat tones and pastel colors is a big part of my process. This is important to me as it provides the purposeful nostalgic feeling I often seek out with my work. Currently I am producing large format giclée prints on a natural cotton paper – Hahnemühle Photo Rag. Seeing my images printed in this way can sometimes change my perception of them, leading me to revisit and further refine the digital versions.
Who are your favorite artists?
A tough one. Of course, photographers would be the closest and most direct source of inspiration. I’m sure I’ll miss some important names, but just to mention a few I greatly admire: Harry Gruyaert, Jill Freedman, Umberto Verdoliva, Alex Webb, Dino Kuznik, Gregory Crewdson, Franck Bohbot. I am also inspired by great painters like Giorgio de Chirico, Andrew Wyeth and of course Edward Hopper.
Where do you go to discover new artists?
These days, unsurprisingly Instagram is a convenient place to discover talented and inspiring people, especially those who aren’t yet widely known. Galleries, art books, photo festivals at which I have met fabulous artists. Those would be the usual places. Often, I discover great artists completely by accident—I’ll see a single image I love plastered somewhere on a city wall, half torn, and I’ll dig deeper to uncover the author, often discovering a beautiful body of work.
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