#2 Austin Tondini
I met Austin years ago, when I had just arrived at Atelier Hauteville—almost ten years ago now. She came to my first exhibition there with her associate, Violette. They had that enthusiasm and good energy you rarely find in guys—it was incredibly refreshing.
They built a decorative painting studio in Paris for private mansions, restaurants, and interior architects, developing a seriously classy style that plays with atmospheres and impressions—a bit like Monet at the end of his life, except they don’t have cataracts! And she definitely shut me up about acrylics—she’s managed to make it express a depth, through layer upon layer, that has the richness of oil paint. But to achieve that, you need absolute mastery, which they have down to perfection at the studio.
Austin is someone brilliant, highly sensitive, and intuitive, with a mindset that’s a breath of fresh air. They’re completely swamped with work right now, so I think this break at Blase House did her good. But I’m really happy for them—it’s great to see things working out so well.
And she’s not lacking in assets—her partner, Merri, is a truly funny and unique guy. Together, they make an amazing Bonnie and Clyde duo, a real joy to be around.
See you soon, my friends!
The Blase House Questionnaire
How would you define your style/work in 2 or 3 words?
I’d say our work at the studio is centered around light, transparency, and color. Something ethereal, a bit misty.
I like the idea of Donkeyskin dresses: colors of time, of the moon, etc.
Describe an emotion you love to feel while working.
Emptiness. That moment when no one’s talking to me anymore, I zone out. Drifting.
Which artist (living or dead) would you invite to dinner?
I’d invite all my living artist friends at the same time. I think meeting your idols kills the magic.
Is there a work of art that once obsessed you but no longer has an impact? Or, on the contrary, one that opened a mental door for you?
I clearly remember discovering Sol LeWitt. He made me want to paint big.
What material or technique do you dream of mastering perfectly?
Welding, ceramics, wood… it’s hell, I want to know how to do everything.
Do you have a creative ritual?
No, but I wish I did—something zen, like going for a long walk before arriving at the studio.
Most of the time, I’m running late.
Is there a style of music that accompanies your moments of creation?
A lot of old stuff—I like switching styles.
I’ve got a soft spot for bluegrass and folk.
Do you ever get stuck in doubt? If so, what do you do in those moments?
I fantasize about a totally new life, in a new country, where I have to start from scratch. Ideally in the countryside, somewhere quiet, with a little house, a garden… and basic income.
Do you have a vice that, paradoxically, helps your work?
If snacking on cookies all day is a vice, then yes.
What’s the best and worst artistic advice you’ve ever received?
Best: not being too academic in my approach.
Worst: when someone suggested I get a Midjourney subscription.
Tell me about a happy accident in your work that brought you joy.
I’m honestly a bit too rigid and academic to have many accidents.
I’d love for my practice to allow more of that in the future.
How do you relate to boredom? Do you fear it, or do you fantasize about it?
I’m always looking for it. I’ve had my best ideas during the most boring moments.
Is there a mindset that’s essential for balancing work and a relationship?
Honestly, I got really lucky. My partner’s not that into my work—he’s always there to help, but we mostly talk about other things.
Maybe that creates a space that’s just for the relationship.
In 10 years, where are you, and what are you doing?
In my garden, in that little house I mentioned earlier.
And if I’m the luckiest person alive, I’ll be doing all the weird stuff that pops into my head.