Max Wolf—in the eyes of the journalist that interviewed Wolf on their signature artistic process—“recalibrated fashion portraiture’s traditional framing” by developing a unique and emerging perspective on visual artistry. Wolf has been exhibited and published internationally in presentations out of New York, Milan, Rome, London, Los Angeles, Barcelona, Berlin, Istanbul, Tehran, Miami, San Jose, Oakland, Doncaster, Orlando and Tampa, fixating audiences with works that “punch far above their weight [in their ambition]”. Max Wolf has been curated by the editorial team at Vogue Italia to their online Photo Vogue platform on twenty-four 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), with a signature interview detailing and demonstrating their artistic process published by the platform last year; the year prior, an interview commentary regarding depictions of juxtaposing paired imagery were published in a prior article for VSCO by Kendal Kulley after Wolf demonstrated a dense history of staff curations to select collections (most notably their contributions to VSCO Selects.) Alchemy, a virtual abstract photography exhibit, was covered in press by Art Upon after its initial release, having been presented virtually with Artheme Gallery and MoCA Digital; selects from Tutti noi, a project tackling the shrouded waves of grief and solidarity at the onset of the coronavirus pandemic have been inducted into several platforms, including that of the COVID Art Museum detailed in press for VICE, MSN, The National, VICE Spain, Print Magazine and Playground Magazine and the COVID Room detailed in press for i-D Italy, VICE UK, Trax Magazine among several others. Bief (2021), dictating Wolf’s battle with post-COVID syndrome, has been publicated in Art Jobs prior to its imminent debut in Rome this summer. Wolf has been inducted into the digital archive of Iconic Artist, demonstrating the imminence of their impact on the main stage of thought-provoking contemporary photography.

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.