Max L

Max Lakritz (Born in Milwaukee Wisconsin United States) is an artist who mainly works with painting. By exploring the concept of landscape in a nostalgic way, Lakritz investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. His own paintings are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By referencing romanticism, as well Impressionism and symbolism, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. Max Lakritz currently lives and works in Seattle Max L joined Society6 on March 2, 2016

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Max Lakritz (Born in Milwaukee Wisconsin United States) is an artist who mainly works with painting. By exploring the concept of landscape in a nostalgic way, Lakritz investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. His own paintings are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By referencing romanticism, as well Impressionism and symbolism, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. Max Lakritz currently lives and works in Seattle

Max L joined Society6 on March 2, 2016.

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