Max Wolf (b. 1998) has received exhibition and publication in settings spanning four continents as an emerging purveyor of perspective on visual artistry. Wolf has been curated by the editorial team at Vogue Italia to their coveted Photo Vogue platform frequently, applying visual storytelling in service of the platform’s definitive aesthetic. Wolf has been recognized generously by the editorial staff at VSCO, an interview detailing their artistic process having been published in 2020; a 2019 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. Alchemy, a virtual abstract photography exhibit, was covered in press and inducted into several digital art galleries subsequent to its 2020 release; Tutti noi, a project tackling the shrouded waves of grief and solidarity at the onset of the coronavirus pandemic received induction into several platforms tackling the subject, including those detailed in press for VICE, i-D Italy, Conde Nast Traveler, VICE UK, Vogue Italia, CBS, MSN, VICE Spain among an array of others. Bief, dictating Wolf’s embattlement with long term ailments resulting from the novel coronavirus, was published on several platforms in advance of its international group exhibition in Rome last summer with Millepiani. Hominid Detachment, a project tackling the scourge of isolation, is awarded and made its’ debut in Athens at the end of 2021. Wolf was inducted into the digital portfolio of Milan-based Iconic Artist in 2020 and 2021, demonstrating the imminence of their impact on the main stage of thought-provoking, contemporary photography.
In bodies of skewed photographic imagery, I seek to develop nomenclature with which one will find their sense of self or non-self spoken to. A notion of identity as it is derived from the self may act as a humanizing force worthy of its keep in our subconscious utility—yet, it conveys itself to be, in profound misfortune, impossible to extricate from the binding powers of human social perception, nor the ways in which such perception inevitably shapes one’s material condition, one’s life experience, all of which inevitably ricochets into a further molding of identity. As the advent of the self as a commodity climbs to fever pitch, and human ambiguity is rendered a bruised pariah, I seek to demystify the interactions of their converging forces in works that utilize abstracted imagery to speak to the searing human emotional imbalances that such forces breed into our collective spirit. In the execution of my artistic practice, I feel an inviolable and immense connection to the gaps between individual and collective narratives of humanity, capturing the phenomena around identity, perception and social hierarchy through visuals that bleed with sublime symbolism, obscured to the detriment of their discernment. I feel a severe and unwavering drive to synthesize cohesive bodies of photographic work that juxtapose artificial quality of the abstract with interjected humanist values, the work of documenting humanity in the bold, harsh lines and colors of a lens capture met with the cognitive abstraction of reduction.