Wow, we have a truly extraordinary guest in the studio today. He is funny, brilliant, and fully capable of igniting a passion for the natural world in just about anyone. We are talking about Jonas Flanagan. Known to millions of fans globally by his online handle, More Parz, Jonas has established himself as a unique force in the realm of content creation. With an audience that has eclipsed the incredible milestone of six hundred million views on YouTube alone, his rise to the top is not merely a story of internet fame. It stands as a testament to the power of resilience, technical mastery, and an innate ability to tell stories that reach across cultural boundaries.
Jonas Flanagan represents a new breed of entertainer who functions as a bridge between the natural world and the digital generation. His content, which primarily focuses on wildlife, utilizes a distinct and high-energy editing style that transforms educational animal facts into gripping narratives. He possesses a unique talent for identifying the bizarre, the dangerous, and the humorous aspects of nature, packaging them into short-format videos that demand attention. From frogs that break their own bones to fish with lethal capabilities, Flanagan curates a digital menagerie that is as terrifying as it is fascinating.
However, the glossy metrics of his success often obscure a personal history defined by profound struggle and determination. Born in Tasmania, an island state south of the Australian mainland, Jonas Flanagan navigated a childhood marked by socioeconomic hardship and familial neglect. His journey from experiencing youth homelessness and housing instability to becoming a global brand ambassador and a partner for major industry players like GamerSupps is nothing short of cinematic. It is a narrative of redemption where the skills learned in the quiet desperation of survival eventually became the tools for his massive success.
New York Art Life sat down with this prolific creator to discuss his meteoric rise. We explore the technical intricacies of the Adobe Creative Cloud Suite that allow him to craft his masterpieces, his strategic pivot from gaming to wildlife, and the philosophical drive that keeps him working twelve-hour days. As he prepares to relocate from the quiet isolation of Hobart to the bustling creative hubs of the United States, Jonas Flanagan opens up about his past, his advocacy for homeless youth, and his ambitious vision for the future. This is the story of a man who refused to let his circumstances define him, choosing instead to edit his own destiny one frame at a time.
New York Art Life: Jonas, thank you for joining us. To understand the magnitude of your current success, we must first look at where it all began. You hail from Tasmania, a place many of our American readers might view as quite remote. How did growing up in such an isolated environment shape your early perspective on the world and your eventual path into digital creativity?
Jonas Flanagan: Cheers, thanks for having me, pleasure to be here. Tassie is a pretty interesting spot to start out. I may be biased, but it really is one of the most gorgeous places in the country; it’s got a real small-town vibe even in the capital. However, considering we’ve got a grand total of just over 500,000 people spread out across the state, that’s not a real shock. But being an island comes with the tradeoff that you feel pretty cut off from the rest of the country, let alone the world. No matter what you do or where you are down here, there is a constant, overbearing feeling that you are missing out on the rest of the world and the opportunities living somewhere else would bring. As gorgeous as it is, Tassie tends to lag behind the rest of the country in pretty much everything.
If you wanna raw stats, we’re easily one of the least advanced states in the country by numbers, and if you wanna talk personal experience, most people don’t finish college, rent is horrendously expensive, and finding a job is damn near impossible unless you’re very lucky or you’ve got connections. But thankfully, being stuck down here just gave me the drive to find a way out. I’ve wanted to do content creation ever since I was a little kid watching the Yogscast do Minecraft playthroughs in primary school.
That, coupled with the fact that I’ve always been a bit of a dreamer, meant that once I cleared school, the small town atmosphere down here started to feel more oppressive than comfortable, and I realized the place just wasn’t a fit for me. So I stuck my head into my head down into a screen and started using it not just as an escape but a way to forge a path out.
New York Art Life: You have been very open about the fact that your childhood was not easy. You faced neglect and difficult family dynamics that eventually led to you leaving home at a young age. How did those early years of instability influence your work ethic and your relationship with content creation?
Jonas Flanagan: Look, I didn’t exactly have what one would call an amazing childhood. My parents split early on, and unfortunately, when they found new partners and started new families, I fell through the cracks pretty hard. There was a lot of emotional abuse, a good splash of physical abuse, particularly from my mother’s new partner, and a general feeling of being an unwanted ghost haunting their happy new relationships. Growing up was more of an exercise in survival, growing up walking on eggshells, and trying not to make anyone upset. While I’ve since started repairing the relationship with my dad, The shear amount of abuse and neglect my mum’s side, and more importantly her new partner, has pretty much forced me to go no contact, and I’m pretty sure that door will be closed for the rest of my life.
The arguments and abuse got worse until one day I couldn’t take it anymore, so around age 1,6 I packed up and left, and I’m glad I did because if I hadn’t, I wouldn’t be here today. Stayed with my grandmother for around two years before a family breakdown meant she wasn’t in the mental state to have me there, and so what followed was years of couch surfing and temporary accommodation. Crashing with mates, short-term rentals, and the like.
Managed to prop myself up with odd jobs here and there, solar sales, IT, and did a few months as the desk guy at a gym. Eventually wound up running kind of a handyman business, taking odd jobs for people or picking up contract work for construction companies to keep the ute running, a roof over my head, and food in my stomach, it was very often I couldn’t afford all 3 of those at once.
It was a really bloody dark time in my life, to be honest. My mental health tanked so severely I was a complete wreck behind closed doors, and I barely managed to hold on
New York Art Life: That level of resilience is remarkable. You mentioned that you hit rock bottom before finding your first major break in the industry. Can you tell us about the transition from those casual labor jobs to becoming a professional editor for the creator Natt?
Jonas Flanagan: Getting the work for Natt was truly the turning point. I was pretty well at rock bottom. I’d been dumped, fired, and forced to move again, all in the space of around three weeks. I’d thrown in my application for the position a while ago, not expecting to hear anything back. I was actually elbow deep, digging a fence post hole on a farm when I got the message. He reached out, said he loved my portfolio, and he wanted to talk to me about the position. Gave me a trial clip to edit down for him.
So I locked myself in my room for 2 days and ended up producing three separate projects from the provided clip, and was given the position on the spot. He was a hell of a lot more than just an employer though, that man in has been in my corner since the day I met him, told me based off of my portfolio (which was really just a whole lot of personal projects I’d made for my own channel) That he really thought I had what it takes to be a full time content creator. So with the support he gave me, in turn, I stuck my head down and poured absolutely everything into the work he gave me, and now that I was getting paid to do what I loved, I had a lot more time to hone my skills.
If you go back and look at the projects I worked on for him, you can see a lot of things that eventually made their way into what I do today. He encouraged me to have fun with it and explore, and I will forever be grateful for that opportunity. Not only did it give me a stable income, but the work also made me eligible for a stable 2-year lease in a government-subsidised youth housing program, which, after five years, finally gave me a space that was truly mine to work in. Not only did I find work and a job, but I also found a lifelong friend who took me in and helped me find my way in the industry
New York Art Life: Let us discuss your specific style. Your current content under the More Parz brand is known for being high energy, visually stimulating, and humorous. How did you develop this “over the top” aesthetic, and why do you think it resonates so effectively with modern audiences?
Jonas Flanagan: The aesthetic was basically the result of tossing things at the wall, seeing what stuck, then using that information to throw even MORE things at the wall in a smaller area. Gaming clips led to more structured voiced content, voiceover content led to leaning on the fact I have a very naturally thick accent, which then all got applied to a video about a spider I pulled together on a whim, and the rest is history. It’s a lot about triangulating your niche based on what works and also understanding how to structure your content. Especially with short form, you’ve got MAYBE 3 seconds to grab someone’s attention enough to stop them scrolling. You can’t just deliver information dry, you’ve gotta do it with style, you need to be INTERESTING.
Then once you’ve got that attention, you need to keep it, which is where your visuals can help prop up your script writing and voice work. I like to think of editing as the art of very tactfully jingling keys at the audience to hold their attention and make them laugh, but not doing it so much that it’s obnoxious or becomes the main focus. All the flashy editing in the world can’t make up for boring content and a poor structure. Success tends to all three of these things coming together. In a world of short-form that is increasingly being flooded with mind numbing ai produced content, I think people are craving something well-produced where they actually learn something. People are by nature curious; they love to learn new things, so I do my best to find cool stuff to share.
New York Art Life: You had a significant breakthrough when you attended TwitchCon in San Diego in 2024. You described it as having a “blindfold pulled off.” How did that trip to the United States alter your trajectory and inspire the creation of your own viral content?
Jonas Flanagan: That trip really did change my life. Before that, I was trapped in a bubble. I’d never left the country and had rarely left the state. I actually nearly didn’t get to go because I was flat broke, but some very close and amazing people lent me the money because they knew how badly I wanted it, and more importantly, seemed to have an idea of what that trip would do for me. So after a good 20 hours of flying and layover,s I finally got there and was absolutely floored by literally everything.
Content creation as an industry was something I had always wanted to do, but had never actually met anyone in person who’d done it. Meeting all of these people and seeing the sheer scale of the industry and the con was something I don’t think I will ever forget. It’s one thing to hear about it, but actually physically being present and seeing it all makes you realise that it’s real and tangible.
I made more friends in the industry in 3 days at that con than I had made in 3 years of doing it as a hobby. Not only did the friendships I already had deepen, but Natt and his partner were also absolutely lovely, and they also showed me the sights, introduced me to their friends; it felt like walking through a movie. It was also just insane to realise how different the mindset was when talking with other people in the industry and the US in general.
Tassie has a very laid-back culture, not a whole lot of drive and ambition, which is nice for a holiday but not much else. Contrast that with being around people who were talking about their plans and new projects they were excited about over drinks, which was a shock, not because I didn’t understand it, but because I felt like I was finally in the right place, I fit in properly for once, and that changed something in my head. The goodbye was bittersweet; I was not remotely afraid to admit I cried when everyone went their separate ways, and I had to get back on that plane. But I also knew with a certainty I’d be back; I was going to force this to work no matter what I had to do.
I spent most of the flight back planning things out in my notebook. Once I hit home, work shifted into overdrive; it was 7 days a week for 10-12 hrs a day. I stuck my head down and practically vanished for months, because I’d seen what my life could be; it was a real possibility, and there was no way I was going to let it slip through my fingers.
New York Art Life: Your pivot to wildlife content seems to be the moment where More Parz truly exploded. What prompted you to switch from gaming to animals, and can you describe the moment you realized you had struck gold with the spider video?
Jonas Flanagan: It didn’t feel real at first. I mean, I’d been on a good push till that point to get me wrong. I’d had a few videos clear over the million-view mark, and I knew I was getting better at what I was doing. That video was honestly a happy accident. I had a few people call it luck, which certainly played a part, but I tend to find the harder I work, the luckier I seem to be. I’d never covered wildlife on the channel before, but I’d been leaning into my Aussie side, so I thought, why not right? So I threw it together with the skills I’d learned in around a day and threw it up on socials. Funnily enough, for the first day it didn’t do all that much, but when I woke up the next morning, it had exploded.
I remember running around my apartment grinning like a kid, ear to ear, when I saw how insanely well it did. It didn’t even feel real. But shortly after the excitement, I quickly realised this was the biggest glowing neon sign for direction I had ever been given. I didn’t even take time to do a victory lap. I just started working on the next one, and the next one. Then I blinked, and suddenly I’m here. Still have whiplash looking at the sheer number of people who watch me, and I will never take that for granted.
New York Art Life: You recently secured a long-term partnership with GamerSupps, a major brand in the gaming and esports space. How do you balance working with commercial partners while maintaining the authenticity of your personal brand?
Jonas Flanagan: I actually personally sought out the partnership with GamersUpps, not the other way around. I’m very picky about brands I’d be interested in working with because I never want partnerships and sponsors to feel forced. I did my research, and they seemed like an amazing fit, for one I genuinely enjoyed the product and did so even before reaching out, which matters to me because I never want to promote something I don’t use and don’t personally think is good.
Two, they were a great fit personality wise, while I cover animals, I do so through the lens of someone who, to this day, is a massive nerd. I love gaming, anime, etc., and I reference that a LOT in my content, which works really well with their brand. And three, importantly, they allow me to promote the brand in a way that feels natural with full creative freedom.
I’m no reading off of a predetermined script, I’m not locked in to producing a stock standard boring promotion that feels unbelievably stuffy and corporate, I’m not required to run a minimum number of add in weird spaces in my videos. I’m a creative person, and freedom to be creative and promote things in a way that doesn’t feel like I’m shoving a product down your throat for a pay cheque is very important to me. I want everything I make or promote to feel authentic, and I never want to betray my audience’s trust by promoting bad. The people who watch my videos and support my collaborations with these brands have quite literally changed my life in ways I couldn’t imagine, so treating my viewers with respect is important to me.
New York Art Life: Your portfolio of viral hits is staggering, particularly on YouTube Shorts. Videos like “Neil the Seal is an absolute MENACE” and “Certified Australia Moment” have garnered tens of millions of views. Let us deconstruct one of these successes. Can you tell us the story behind the “Neil the Seal” video? What went into making that specific piece of content so popular?
Jonas Flanagan: Neil really was an absolute PLEASURE to cover. Great example of how a silly little small town story can be interesting to people all across the globe if you just point a spotlight at it. Neil is a big, beefy southern elephant seal who has made quite a habit out of being an incredibly lovable nuisance in Tassie. I mean, the guy blocks traffic for fun and beats up traffic cones for no discernible reason. And while yeah, it might be slightly annoying for some people, that is significantly outweighed by the fact that it is really REALLY funny, which is why I wanted to tackle him in a video.
When I scripted that one, I knew I had to lean into the fact he was a menace while framing it in a comedic light. Listing off his behaviour like a rap sheet was a fun one, but I think the crowning achievement and reason that video did well was the story about him blocking that lady into the driveway. It’s a funny tale on its own, the script was also really solid, and importantly, stories like that give me the leeway to get REALLY silly in the way that I illustrate things in the edit with clips and sound. A lot of my more successful pieces usually involve a heavily edited story like Neils. There is a lot of humor in nature, and a lot of what I do is just framing in a way people will see.
New York Art Life: You mentioned earlier that you are looking to move countries. After your second trip to TwitchCon in 2025, you realized that staying in Tasmania might be holding you back. Can you elaborate on the decision to relocate to the United States and what that process represents for you personally and professionally?
Jonas Flanagan: It’s a rough decision, but ultimately I think it’s the right one. Tassie is gorgeous, don’t get me wrong, but after seeing how much the world is out there, the small-town feeling is just starting to suffocate me. On top of that, there are a lot of bad memories down here I need space from for a while. I’ve been to TwitchCon twice now, once as an editor in the background and the second time as a full-time creator, and the call to get out there and be involved in more events and make more friends is just too strong to ignore. I had so many lovely people stopping me to ask for a signature or a photo, and it was wonderful seeing everyone.
It really is something I don’t think I will ever really tire of, and unfortunately, there aren’t as many opportunities for that in Australia. The convention circuit is mostly US- and European-centric, which is a pain when getting to either place, usually a day’s worth of airports and flying. On top of that, I love the energy of being surrounded by other people in the creative field; I love the rush and the hustle and bustle of places like LA and New York. I finally understand the urge to move away and try my luck to make it big that you always see in movies. On top of that, there are a lot of creators whom I admire and would love to collaborate with stateside.
I’ve got a lot of big plans and projects, and those require me to be closer to people. It’s a lot more convenient to live in and around everything for most of the year and visit Australia a couple of months out of the year than it is to do the opposite. But above all else, I’m 23, I’m young, there is so much out there, If there was ever a time to pack up and move somewhere else, it’s right now. I wanna grow and learn new things about myself, and you don’t do that by staying firmly planted in your comfort zone. i want to meet new people, see new things, and go to new places. I wanna get the most out of life that I can.
New York Art Life: I know EXACTLY what it’s like to be in that situation. The uncertainty, the panic, the hunger, the decisions you have to make, the joy you have to give up in some of the most important and formative years of your life are mentally damaging in a way that most people will never understand unless they have experienced it. I went through it, and while yeah, it gave me some resilience, it also did damage to me that I don’t think I will ever fully recover from, and I will carry those scars for the rest of my life as a result, and I got lucky. I wandered my way into a found family who helped support me in the best way that they could.
They encouraged me not to give up on my career, gave me work where they could, and helped me in crisis situations. I also absolutely lucked out in being accepted into government housing. The opportunity to have my own, consistent, safe space is what gave me the breathing room I needed to find the success I have today.
But there are so many kids out there who don’t have that, who haven’t been given these opportunities, who aren’t lucky. These programs have such limited space due to a lack of funding, and sometimes help means sitting on a waiting list for 2 years just for a chance.
No one should ever have to go through that, and as someone who is an example of the unbelievable amount of good these resources and programs can do, I feel it is unbelievably important that I use my voice to make sure others are afforded the same opportunities I was. Young people often end up homeless due to factors completely out of their control.
These young people deserve the same shot at life as those who are in more fortunate situations. They are fighting their hardest to keep their heads above water when they should be living life, and we should be doing everything we can to keep them afloat, so they can get back to that.
New York Art Life: Your metrics are undeniably impressive—over six hundred million views and two and a half million followers in under a year. This places you in the upper echelon of creators. What is your perspective on the current state of the “creator economy,” specifically regarding the rise of short-form video content like YouTube Shorts and TikTok?
Links of Jonas Flanagan:
- Main Youtube Channel – https://www.youtube.com/@moreparz (This is my main and largest platform, most of my content revolves around covering interesting wildlife and animal related stories)
- Side Channel – https://www.youtube.com/@parzlive
- Tiktok – https://www.tiktok.com/@parzlive
- Instagram – https://www.instagram.com/parzlive/?hl=en
- Twitch – https://www.twitch.tv/moreparz
Jonas Flanagan: First, I want to say that the support from my audience has been absolutely unreal, and it still doesn’t feel real. I cannot thank everyone enough for the opportunity. Shortform is seeing a hell of a lot of traction at the moment. TikTok got the ball rolling, and very quickly every other company realised that’s where the numbers are, so we started to get YouTube Shorts and Reels. I think it’s a genuinely great tool for creators.
It allows you to try your hand at a lot more styles and experiment to find your niche as a creator, a lot faster. Shortform is a lot less of a commitment than 20 minute longform video, so you can try more things, and if you work hard at it and produce quality content, you’ll find that you’re able to carve out an amazing audience really quickly. This gives you the opportunity to not only hone your short-form craft but also to use the attention to pivot into long form as well, really letting you diversify.
However, shortform is a double-edged sword, because the bar for entry is so low, it is the absolute epicenter for low-quality AI-generated slop, resposted movie clips, etc., and because it’s so saturated, you REALLY have to work to stand out. You need to be genuine and make something that is uniquely you because if you don’t, you’re gonna fall by the wayside FAST. Ultimately shortform content is a really interesting tool, it’s generating an insane amount of views at the moment and anyone looking into content creation should be using it, but I’d discourage anyone from placing all their eggs in one basket, use your shortform to direct to your longform or live content, you never know when things might suddenly flip in one direction or another.
New York Art Life: You have been described as a “master of editing” and creating captivating stories. Looking at your work on videos like “This bird’s build is AWFUL” or “The animal that FOOLED Australia,” do you see your work as educational, entertainment, or a hybrid of both? How do you strike that balance?
Jonas Flanagan: Hybrid is a good word for it, I know the term “edutainment” gets thrown around a lot, too; both work. If I just listed off points from the platypus wiki, there’d be absolutely zero point in watching me because those are facts you can find in 5 seconds with a Google search. But if I frame those facts in a way that makes people giggle, suddenly you change the game.
Yah see people have an innate desire to LEARN, doesn’t matter what, we crave knowledge. But the barrier to entry is often simply how dryly the information is delivered, or how hard it is to find. As such, the balance I find comes from making sure everything is completely 100% as factual as possible, and delivering that information with the goal of making it far more understandable to the average person while trying to make them spit out their drink. The way I tend to do that is with what I know, gaming terminology, TV, and animation. Presenting an animal as an RPG build or comparing it to a character. I’m taking a niche that potentially not many people will be interested in and converting it into terms they’re going to understand.
New York Art Life: Let us touch on the mental toll of this industry. You mentioned working seven days a week, twelve hours a day. Burnout is a very real threat to content creators. How do you manage your mental health now, compared to when you were struggling in your youth, and what keeps you grounded?
Jonas Flanagan: The workload is definitely a lot. In fact, ask most of the people close to me will tell you it’s too much, and I’d be lying if I said I didn’t feel the pressure on occasion. I am the whole show; I don’t have an editor or a script writer, it’s all me. But the way I look at it is simple, I have been given the golden opportunity do the job of my absolute dreams after slogging through hell for five years, I have the opportunity to do what I love and set myself up for life, and I would be an absolute idiot not to take that opportunity for all its worth.
This is an opportunity others dream of being given. I work from home, I set my own hours, and I’m my own boss. But I owe everything to my audience, and I’m not close to done yet, so I keep to myself, I stick my head down, and I work, and I don’t look at the clock; it’s done when it’s done. That being said I am in no way, shape, or form immune to burnout.
The way my brain works, I tend to run at redline for a few weeks before crashing for a few days, and it’s important to know when that crash is coming, and more importantly, is learning to force myself to take breaks to stave it off for longer. A support network is very important for that, and I’m very lucky to have that in my friends, especially Natt. The guy is a rock, and he’s done it all before me; he knows what to say, what to recommend; he’s an absolute gem and a fantastic person. Also, seeing comments keeps me going through the rough patches.
I have an amazing community, and seeing all the nice things people leave under my videos makes my day a lot of the time. I push myself because I think I owe it to the people around me, and while that may come at a cost to me it’s one I’m more than willing to pay because I love the work, I’m damn near married to it, it’s quite literally always on my mind from the moment I wake up to when my head hits the pillow and I wouldn’t trade it for anything.
New York Art Life: Your work often highlights the dangerous and deadly aspects of nature—spiders, snakes, and painful plants. Is there a philosophy behind focusing on the “scary” side of wildlife? Do you think it helps people overcome their fears?
Jonas Flanagan: Absolutely! I see a lot of comments from people talking about how my videos have helped with their arachnophobia, or their fear of snakes, just through sheer exposure therapy. A lot of fear comes from the unknown. On paper, a lot of these things look and sound very scary. But that’s only because we humans are very self-centered creatures. We ASSUME these animals are out to get us because we are so used to being the important ones, when in reality they mostly avoid us and are indifferent to our existence. They aren’t some malicious creature; they are another animal just trying to live out their lives and fulfill their very important little roles in the ecosystem.
The humour definitely helps too, it’s kinda hard to be scared of something when I’m poking fun at it and cracking jokes every 5 seconds, and I think a lot of people end up with a newfound appreciation for a lot of these things because while they are scary, they are also cool as hell. I tend to find in most people, curiosity trumps fear, and I am very happy to be a part of that discovery process
New York Art Life: You are credited with “Time Management” and “Social Media Management” as key skills. Managing a personal brand with over two million subscribers requires more than just video editing. How do you handle the business side of More Parz?
Jonas Flanagan: The business side is a lot. I am essentially a one-man band; I handle most of my own financials, I do all the editing and scripting, I find things to make my own social media promotions, I do all my own research, and the list goes on. I am very grateful to have Natt as a manager to handle things I find myself out of time for, but the majority of this is all on my head. Time management is definitelya critical skill. I know a lot of people like to approach things by rigidly blocking out the day, but my brain can never find a rythym so I tend to operate on a “wherever it fits” system.
I’ll edit till my pace slows to a crawl, then take a break and switch to a smaller admin task, classifying expenses,s etc. Once that’s done, I’ll try to switch back to editing or scripting, somewhere throughout the day, eating, and hitting the gym, get crammed in wherever they fit, rinse and repeat until I pass. If I can’t find time for something, I pass it over to Natt, and he’ll get it done for me with just the cliff notes. Any time I upload, I’ll take a day to see how it performed, scrub the comments for critiques, ask friends, the works. I find taking the more free-form approach works better for me in the long, I know it’s a little unorthodox but I like the feeling of constant motion, keeps me on my toes, and makes sure I never get too comfortable and sloppy with my work.
New York Art Life: Looking ahead, you mentioned expanding into live streaming and gaming. How do you see the More Parz brand evolving over the next five years? What is the ultimate goal?
Jonas Flanagan: The end goal is to branch out a LOT. I want to get back into livestreaming and push into some more gaming content, but I’m also interested in exploring other passions through content, things like cars, maybe travel, and fitness. I’m also loving the freedom long-form content is giving me to do deeper dives into animals, and that opens up even more opportunities for content and collaboration.
I’d also love to do some advocacy work with my voice. I figure if I make all these videos on nature, it’s important to put my money where my mouth is and support it, but just in general, I think there’s a lot of good I can do with my platform. This is a job I love, I wanna explore every angle of it I can because I love it, my work IS my life, and I want to give it some variety.
New York Art Life: As someone who has achieved extraordinary ability in the field of content creation, what advice would you give to a young creator sitting in a small town, perhaps feeling isolated like you did in Tasmania, who wants to break into this industry?
Jonas Flanagan: My two best pieces of advice are just start, and once you do start, get a little insane about it. If you spend your whole life sharpening a sword, you’ll never get to use the thing. Start posting, figure out what works and what doesn’t, and pay attention. If you’re doing this just for the money, you’re going to wash out really fast because you’ll spend a lot of time without it. You are going to have to get a little delusional because it takes a special mindset to essentially slam your head against a brick wall with no results for a year or two. You need to stay focused on putting out the absolute best you can, and when your best doesn’t work, find a way to make it better.
You’re not gonna post a masterpiece every time, but get obsessive enough, and suddenly your new lows become better than your old highs. You need to show up every single day, even if it’s only a bit. Rome wasn’t built in a day, but you can bet that there was someone out there placing bricks the whole time. You get stubborn and smart enough, and you can do absolutely anything you set your mind I promise. No one is going to do it for you; all the help and opportunities in the world won’t help you if you aren’t ready to grab onto them and put them to good use.
New York Art Life: Jonas, your journey is truly inspiring. From the quiet streets of Hobart to the global digital stage, you have proven that creativity knows no boundaries. As we conclude, is there a final message you would like to share with your fans and the people who have supported you?
Jonas Flanagan: I want to say a huge thank you to the people who have stuck by me. Natt, who took me under his wing, introduced me to new friends and has stuck with me every step of the way. I would also like to give a very special thank you to two very close friends, who are more like found family. I’m going to leave their names out for privacy, but they know who they are. They gave me work, bailed me out of crisis, took me in, and supported my dream every single step of the way.
They were the ones who loaned me the money for my first trip abroad because they knew how much it would benefit me, and I’m so glad I didn’t disappoint. My grandmother, who has always been there for me, however she can. And very importantly, everyone who supports my videos. I cannot put into proper words how much each and every one of you has changed my life, and I will absolutely never take any of that for granted. You gave me my dream,s and I will work until I drop not to waste them, thank you so much.
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