A Virtual Exhibition
Max Wolf (b. 1998) is an emerging visual artist based out of Chicago, Illinois and New York, New York who has developed a individualist perspective of altered abstract-surrealist imagery that was the subject of Torsion, a printed book of altered imagery published in 2020, and a subsequent sequel exhibiton, Alchemy. Max has been recognized in several editorial pieces for Visual Supply Co., having been profiled and interviewed by their platform in February 2020 after being featured in another article depicting juxtaposing paired imagery in March of 2019. Additional published profiles have been with Golden Boy Press (2015), a featured artist position with the Debt Collective (2018), Mieux Magazine (2019), Wink Magazine (2019), and C Magazine (2020), along with several online gallery publishes to PhotoVogue (curated by the editorial team at Vogue Italia) as well as several curations to the selects of Visual Supply Company’s online selects. 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 online art galleries, including that of the COVID Art Museum detailed in editorials for VICE Spain and Playground Magazine. Max Wolf received their Executive Certificate of Digital Photography from Cornell University College of Art, Architecture and Planning in 2020.
“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.”
