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Max Presneill

Page 1 | 2 | 3 | Biography


Max Presneill

Artist’s Statement

My paintings reflect upon Hermetic moments within reconstructed histories and mythologized experiences, clichéd situations and reconfigured relationships between fact and fiction. These forged connections that play between remembering, invention and the act of painting allow for fluid identities and the heightened poignancy of self-aware entropy, of the passage of one’s own time and essential singularity in the world, regardless of attempts at connection via others and through painting itself.

The paintings touch upon aspects of memory, transience, and maleness. These allude to situations, both specific and general, factual and imagined, in a form of visual existentialism. Isolated and de-contextualized, the source materials float in a sea of uncertainty, like our own reflection in a mirror, somewhat familiar but not quite us, what is seen differing from what is felt.

The spatial relationships deliberately destabilize the picture plane and heighten ambiguity as well as provide the perceptual infrastructure to support conceptual instability, social/political and personal, maintained in a state of flux. This figurative/abstract status of the resulting image is explored both as a painterly concern as well as metaphor for social/political positioning and an epistemological critique. A meeting point of irregularities and intuitions, logic and reason, they are the site for (both cognitive and political) decisions and choices, Acts and ultimately responsibility as the nexus point for reestablishing one's own existential identity (the subjective body), in relation to the social or what is essentially corporate space.

In the process of our own directed decisions a kind of autonomy is established. This limited autonomy during the process of painting is always based within loose perimeters cast by art history and the limitations of social patterns and thought systems. Using a combination of negotiable, changing rules, manipulations and reinventions in relation to intuition (an allowance of the personal) and formal painterly decisions to recontextualize the source materials, the work becomes about painting itself, while maintaining references to the personal and to the cultural.

In the end they are the remnants and evidence of the cognitive, problem-solving nature of painting and the human experience, or at least mine…


Max Presneill
Artist & Curator
Los Angeles, CA
Los Angeles
California
North America


T:
F:
M: +1 310 804 4647
W: http://www.maxpresneill.com




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Durden and Ray Fine Art
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