Depersonal
Depersonal
postminimalist altered photograph(s) on aluminum print. (2022)
on loss of contact, touch, permanence of loss of identity, loss of perceptive identity and loss of self with loss of memory, human social perception;
the loss of a permanence which none of us truly may ascertain: “self presses, self grazes, self strokes, self resigns, self dissipates, self does not exist, self did not exist, has not existed, is to be invented, assembled, honed, re-dissipated, forgotten again, …”
Hominid Detachment
as selected for the 2021 Venice Contemporary;
Hominid Detachment I (2021) as curated to the digital exhibit at Experimento Bio 2021;
selected as finalist for the ongoing accompanying competition to exhibit in Bilbao, Spain, 2021.
Visual intersects the anthropological. Synthetic livelihood provokes detachment from anthropoidal instinct in exchange for commodity, in perpetuation of the less innate. The obfuscation of the human image, the alteration of the visual humanity of the series is indicative of the loss of touch with one’s identity that can be provoked by experiences of isolation and dependence upon the synthetic, the non-human, the electronic — all remarkable in their innovation, but when exclusivity is provided to them in exchange for the connection universally desired, there is an incalculable loss of self in the loss of others.
Figurine
as featured in Art Hole Magazine (No. 9)
Figurine seeks to bend the tightly-wound confines of human perception and walk the sharp edge of identity. Figurine is the result of abstracting several images of a mannequin and setting the resulting images among muted, neutral and monochrome backdrops . Figurine I, III intend to mimic the tall, thin, archetype of the supermodel in their narrow, curved, contrived posing; in stark juxtaposition, Figurine II presents a transformative presentation of abstracted, indiscernible change; Figurine IV dramatizes the aggressive obscuring of the model in a seemingly collage- oriented amalgamation of abstracted, indiscernible features. The silenced tones of gray and brown provide a cold, melancholy backdrop to the intimate and fiery discourse surrounding colonial versus contemporary idealizations of image, identity and body.
Catechism
“Our era of robust political discourse necessitates an intimate commitment to the interrogation of human thought on both an individual and societal level. The deconstruction significant of malleability on part of the grasping arm is to suggest a will of steel to deconstruct and ply the structures, the source materials of oppression and injustice. It is within the mind that we can truly divest from what which binds the marginalized and recompose our innate societal mission of community and selfless human aid; it is within the mind that we can provoke our imaginations to extend our eyes towards a world of endless equity and liberation for the entirety of humanity.”
Alchemy
as covered by Art Upon; exhibited with the MoCA, Artheme Gallery; in indefinite residency on maxewolf.com/alchemy
“The angle on contemporary abstract-surrealist photography that has informed my recent work germinated as a manifestation of a period where I have found complacency within the confines of conventional portraiture. I have long admired the sleek palettes of editorial fashion photography, and at the point at which I began shooting in this style, I favored the bold styling of such pieces absent of the confined casting and restrictive prerequisites. I was looking for something intentionally obstructed in such a way that it rendered such metrics of beauty to be immaterial to the excellence of its end product. Alchemy can spin gold from any source, and that is the intention of the set which bears its title. The works I have developed in the abstract are object photographs digitally reconstructed with the hope that they may recalibrate the eyes of the spectator towards something fresh and unexpected.
Tutti noi
as covered by COVID Art Museum [España], COVID Room [Italia], COVID Arte [Italia], VSCO Selects
“Developed in utmost honorable memory of the victims of the SARS-COV2 pandemic.”
à Galeries Lafayette
Experimental featured work for Wink (2019), Mieux (2019), VSCO (2019, 2020)
maxewolf.com 