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Max Keene’s work is a work of process: of coating, drawing, printing, flipping, toning, and rotating. It’s a structured routine of tinkering in a basement studio, a tea-fueled investigation into the space’s materials and textures, its patterned tiles, cracked cement, wood panelling, and exposed pipe. Sometimes, the work feels like an invitation. I often find myself peering in as I might while walking down the street, noticing a shadow moving beyond an illuminated window. A soundtrack is implied, combining the comforting hum of the furnace, steady footsteps overhead, water rushing through the pipes.
In Foundation, two figures pose at the edges of the room, their bodies crafted from pipes and stucco. On the walls, large cyanotypes are the background for drawings on cellulose. Cobblestones, aces, and spades cascade into one another, superimposed with silhouettes made up of serpentine belts. This layering—a drawing on cellulose placed over a background—echoes another process-based…
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Press Release
Max Keene’s work is a work of process: of coating, drawing, printing, flipping, toning, and rotating. It’s a structured routine of tinkering in a basement studio, a tea-fueled investigation into the space’s materials and textures, its patterned tiles, cracked cement, wood panelling, and exposed pipe. Sometimes, the work feels like an invitation. I often find myself peering in as I might while walking down the street, noticing a shadow moving beyond an illuminated window. A soundtrack is implied, combining the comforting hum of the furnace, steady footsteps overhead, water rushing through the pipes.
In Foundation, two figures pose at the edges of the room, their bodies crafted from pipes and stucco. On the walls, large cyanotypes are the background for drawings on cellulose. Cobblestones, aces, and spades cascade into one another, superimposed with silhouettes made up of serpentine belts. This layering—a drawing on cellulose placed over a background—echoes another process-based…
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