“My focus is primarily on the relationship as an artist I have with my “subjects”, which are all recognized as self-portraits. The “subjects” of my work are often anthro- pomorphic, abstract and are open to infinite possibilities. They may refer to states in the past, present and future, including cellular, pre-“human” forms. This allows a constant exploration of any and all potential (or prior) forms of existence and self-perception.”
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reating these forms consists of building life-size (and occasionally scaled down) creatures that display lineages of conflicting, morphing identity, manifest internally or externally. By creating visceral, sculptural forms life-sized, I am further able to manipulate their present state in the process of printing them in a variety of processes, inking’s and combinations until often times, the matrix or entity itself is transformed and broken to pieces, no longer resembling their impressions. These
impressions, or “skins”, are all that remain, shifting the focus then on a new creature, form and manifestation of the self, keeping the life cycle fragmented and broken yet infinitely expansive. Likewise, utilizing the hand papermaking process to construct “pulp paintings” that are in conjunction with these fragile, printed images, I am able to further expand the ephemeral layers of skin that construct the figure and environment that encapsulates them.”
ax’s education has opened many doors to global experiences as well. Through the Tufts/SMFA global exchange program, Max has visited and interned at numerous places such as Dieu Donné, one of the most prestigious papermaking shops in the country, and the Frans Masereel Centrum in Belgium. The Frans Masereel provided Max with an invaluable residency at a government funded printing facility, where he fully immersed himself in the culture and process using historical equipment and modern studio spaces to collaborate with other artists. Through this experiential education, Max has developed his own unique style to printmaking.
ax’s distinctive style of paper and printmaking has brought him to his project he calls “Skins”. What may seem like a simple book upon first glance, opens to become layer upon layer of “skin”, creating a cross sectional process which ultimately becomes a work of art, with extreme deep inner focus. To Max, layering these “skins” allows him to build his work from multiple layers of mediums, to become a single piece of artistic ingenuity; combining the masterful art of papermaking, with the
delicate process of printmaking. Oh, and this is all done by hand. But the meticulousness pays off, as the art produced is appreciated more than it’s initial aesthetic appeal, but also by the process of its creation.
ersonally, I will never look at paper the same way again. I have a newfound appreciation and respect for quality paper, and beautiful prints. The time and effort alone that goes into making prints or paper is staggering; but the finished product is clearly worth the dedication. Max’s work blew me away, and left me with a sense of appreciation that I will carry forever. From even the smallest example of his handiwork, to the huge, 8-pound behemoth hanging in his living room, Max’s art is a sterling example of the print and paper making revival running strong.
If you’ve enjoyed Max Colby’s work, be sure to check him out soon at his own personal web space. Here you follow him, his work, and tune in for updates concerning his progress as an artist!
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