INTERVIEW 4 CLOT MAGAZINE
ABOUT ART ABOUT LIFE ABOUT EVERYTHING
SPECIAL THANKS 4 HELP: Guy Ben-Ary, Red Shaniki, Oded Levy
1 CLOT: You are an artist with a focus on materiality (p.e you use of unusual materials such as blood or jellyfish carcases) who uses multiple art forms including documentation, performance, photography and live-art. For those that are not familiar with your background; could you tell us a bit about you and how and when did the interest with these materials come out?
MAX: I am not really focused on the materials. I chose Organic ‘living’ materials which are due to a process of transformation, materials that keep on changing while i’m using it for my art, and forever on. I’m in a constant search (maybe not even knowingly) for such materials. It’s not just to find it. It is to get to know it, to understand it’s circle of life, maybe even fill/ampetise with its existence. Sometimes it takes some years to appreciate how should i use those kind of Organic ‘living’ materials for my art. I studied jellyfishes for 5 years experimenting its reaction to light, temperature, paints and human blood (not live jellyfishes).
During those years i become so close with jellyfish as if i had become a jellyfish myself, and that is what nake be able to use it for my art.
Working with Kombucha is the same. You have to get to know it before using it. I spent 3 years just growing it, over and over again. Tasting its reaction to other materials such as paint (foodpaint) ink which is also organic and blood. I also induce the Kombucha in several pattern-container in order realize how to handle it. Kombucha – if you know her and have worked with her, you will fall in love with her.
It is an internal and intimate process of nurturing and growing her, exploring her growth and purity. When working with her I am always surprised her behavior is unexpected (a little like mine) and you cannot predict how she will responded or look. I love that feeling where materials are not slaves to the art rather they are a part of the process, they give art life. Everything around me is art and art and life are inseparable.
I also think that the use of certain materials-is guided by my need to stay authentic.
Maybe that is the reason I don’t feel a connection to digital media (even though I used to practice hacking but over time I stopped as Im not interested in it anymore). I have a passion for life, I want to touch everything, feel everything but on the other hand I find myself, sometimes, full, stuffed or overwhelmed.
The use of blood in my art comes from the need to be able to do whatever I want with myself, without limitations. Art is the only platform where I can let my demons and disturbances come out and be expressed and exposed.
This form of expression is one where they don’t bother me and one that does not hurt others. This manifestation is one of control, using blood may appear chaotic but it’s not, it’s very calculated. The use of blood was a temporary exploration, I already feel the end of that era. I have explored my ability with it, my control over the decision to draw with it. I think that behind the use of blood are the ideas that no one can to stop me and no one can decide for me. Furthermore, blood also triggers and ignites me, which is true. It is a fire like substance that symbolizes the Pain, Life and Death.
I could never do just one thing, In order to focus I need to be spread and engage with a few different projects. That is the only way I can concentrate on them without feeling suffocated. I grew up without a routine and without boundaries. In life, this type of upbringing is an obstacle, but when it comes to art it has made me open to everything, ‘hungry’ for everything and comfortable without the need for definition.
As a child I always knew that what I have could be easily gone. I was part of the education system for a very short time and never In a regular and orderly fashion. I never felt like there is someone responsible for me and sometimes I had to be responsible for others. I have seen a lot of pain and death. Being able to create something beautiful out of that pain is something I have been doing all my life and something that has developed with my life experience.
2 CLOT: In MINOTAUR&MAX PORTRAITS-MASKS, you use biomaterials like kombucha, fluids like true blood and gypsum, Ceiba speciosa Thorns and, Ceiba speciosa Flowers. What is the intellectual process behind this project?
MAX: The intellectual process behind the use of Kombucha, thorns, blood, flowers in this project was driven by the need to express the sharpness of a relationship between me and a loved one.
I had the initial idea of a double portrait representing the endless dualism between us while expressing our wish to stay connected. I wanted to attach two skulls each turning in a different direction (symbolizing duality). At one point it became clear and unequivocal that the skulls must be separated, each with its own autonomy, and so the project changed. I accepted the reality of our relationship (very very not a simple process) and once I did that the creation process was complete. These materials symbolize the effort I made in life, efforts of understanding and acceptance.
“Metamorphosis as the basic law of life. All things must always be in transformation as a moral way of living. Reincarnation, Resurrection. Acceptance with fact that we (humans) are nothing but a small part in a greater food chain hierarchy.” © Oded Levy
After I burned a work, I brought it back to life. So here again – “Metamorphosis as the basic law of life. All things must always be in transformation as a moral way of living. Reincarnation, Resurrection.”
3 CLOT: What do you want to bring to the audience that interacts with your work?
MAX: … courage… no fear… acceptance… change…
It depends on the project, I don’t have a uniform message for the viewer. If look at the ‘PAIN MAP’ project, it is a very clear message, it’s a story of growing out of trauma, the need to share and help others and rise out of and deal with pain. I wanted to give a personal example as someone who came out of hell, it means a lot to me.
With the ‘MASKS’ project as I said before, I tell a love story, I speak of a process I’m still going through. I like to allow the viewer to take whatever she wants from all of that and maybe even give something back to me, share a new perspective, who knows?…
4 CLOT: What directions do you see taking your work into?
MAX: I never know where I’m going next with my art, I don’t plan, things happen in a natural way and I always surprise myself (and others) with my work. Even when I try to plan things never fall into place accordingly. When the process is so tightly connected to my soul and actual living experiences the future cannot be predicted. I can’t tell the future therefore can’t tell what I will be doing next. Planning feels like faking sometimes, so I try to avoid it in life and in art. Truth is my solid ground, perhaps it’s the thing I was missing growing up.
5 CLOT: How do you cope with creative desperation?
MAX: I don’t have a problem with creative desperation. Truly, I struggle more with over creativity. But even if it happens, I just wait until it passes. I let it run free for a while.
6 CLOT: One for the road… What aren’t you afraid of?
MAX: I’m not afraid of the truth. I’m not afraid to love.