Max Spencer (°1994, Wellington, Australia) is an artist who mainly works with performance. With a conceptual approach, Spencer tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His performances directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By examining the ambiguity and origination via retakes and variations, he tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By focusing on techniques and materials, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By replaying the work for each exhibition and pushing the evocative power of the work a little further, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By questioning the concept of movement, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By putting the viewer on the wrong track, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By applying abstraction, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. Max Spencer currently lives and works in Sydney.
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