Max Wolf is a photographer based out of Chicago, Illinois and New York, New York developing an emerging perspective of abstract-surrealist visual art, detailed in the printed book Torsion and a subsequent sequel exhibition, Alchemy. Wolf has been published internationally with exhibitions and publications based out of New York, Milan, Barcelona, Tehran, Miami, Doncaster, San Jose, Oakland, and Orlando. Wolf has been curated by the editorial team at Vogue Italia to their online Photo Vogue platform on sixteen occasions, utilizing intriguing visual storytelling that maintains the polished detail-attentive aesthetic of the editorial giant. Wolf has been recognized generously by Visual Supply Co. (VSCO), their most recent source of recognition by the platform being an interview by John Slye detailing and demonstrating their artistic process; commentary previously attached to their depictions of juxtaposing paired imagery was published in a previous editorial publication, having been curated to a plethora of select collections by their staff. Their visual works tackling the complex and shrouded waves of solidarity and grief in the onset of the coronavirus pandemic have been picked up by several platforms, including that of the COVID Art Museum detailed in editorials for VICE, MSN, The National, VICE Spain, Print Magazine and Playground Magazine.

In the execution of my artistic practice, I feel an inviolable and immense connection to the narrative of humanity, and consider it a personal objective of mine to capture the multi-dimensional facets of the human soul and spirit in a two-dimensional space. I intend to perform this through formats of portraiture and object photography that bleed with sublime symbolism and obscure to the detriment of their discernment. In essence, I have every intention of portraying human subjects in objectivity, conversely capturing objects in sentience. I feel a severe and unwavering drive to cohesive bodies of photographic work that juxtapose the artificial quality of the abstract with interjected humanist values. I feel a lifetime commitment to this cycle of capture and alteration – the work of documenting humanity in all of its forms – the bold, harsh lines and colors of the editorial, meeting the cognitive abstraction it holds in the bizarre.