This is an introduction to Max's graphic arts. There is a lot to cover here, so this page is to give you a good over-view. CLICK on any of these small images to get the larger picture of the complete work. For a full catalogue listing of specs on the work, check out the CATALOGUE.

These are multi-media works, some in oil or acrylic, some just for the computer. They are based on Max's digitally manipulated photography. With possible analogies to vice and sin, or possibly to the birth of the soul, these monkeys would seem to be in transition. Mutation is a biological overture and our experience is changing. Ecstasy might just be here.

Various parts of our old mythos are being broken down and re-combined into a new mythology, one that is appropriate for today's people. Icons from the past can be associated with new symbols in new ways to allow us an understanding of ourselves through pictures. This painting, THE ORACLE suggests we empower symbols with our own values.

These are six foot wide by four foot tall works painted in oil on mahogany re-inforced wooden panels. They are saturate, neo-symbolist works frought with psychological, pantheistic and aetheistic allegory. Painted in the 1980s, each panel was more than a year in the making. The paintings convey a religious attitude towards observing embedded psychological archtypes.

Allegory can be a very broad arena with many harmonic layers going off simultaneously. In the axiomatic world of picture making, it can be one of the best theaters. Here, in THE CRITIC we see the archetype of the critic being a powerful and yet dangerous allegory. He can drive the car, but might not really know where...that is up to the artist, so, in a way, the critic is a back-seat driver, one who is prone to calling out suggestions from behind. The artist had best be very, very careful about listening to the "back-seat drivers", as they can be very distracting, taking the Arts way off track.

These are six foot tall by eight foot wide works painted in acrylic on mahogany re-inforced wooden panels. They are saturate, pattern-field works loaded with colour. Painted in the 1980s, each panel is obsessively covered in giant, multi-hued brushstrokes. The paintings convey a deep sense of joy and music through the optical dance.

These wolves are reflecting the animal within us, there are hundereds of them now, smiling from behind the masks. Emotion is easier to look at when it is from a teddy-bear or doggie. Wolves have a broad display of emotion, something that gives them an edge. The WOLF paintings vary in size from one foot by one foot to six feet tall by sixteen feet long.

These are mixed media drawings mostly on paper. The Wolf serves as an anology to our animal natures. Here, in FIVE O'CLOCK , the stress of rush hour traffic is used as a way to look at several relationships. A suspended person seems to have feelings of helplessness in front of society. Native cultures' ideas of animal imagery are used here to communicate deeper than what our egos might otherwise allow.

This is named THE YOUNG COLTS . It occupies a 10 foot by 30 foot white wall. It is titanium white acrylic on mahogany and wooden construction. The back is coated with crimson to give a reflected red glow on the background wall. It captures the feeling of young colts standing up for the first time. With dramatic tension, the massive angles brace against one another.

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