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Portfolio of Artwork
Gallery
Karasu / からす (2026)
Mineral pigment, mud pigment and graphite on washi.
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和紙に岩絵具・泥絵具・黒鉛
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F3 x2 (diptych)
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和紙に岩絵具・泥絵具・黒鉛
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F3 x2 (diptych)
Fire Sprite / 火精 (2026)
Mineral pigment on washi and board.
和紙および板に描いた鉱物顔料
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F0
和紙および板に描いた鉱物顔料
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F0
All the Colour Out of Space (2026)
Clay pigments, graphite and mineral pigments 岩絵の具 on washi on board.
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My contribution to Curtin's 2026 30x30 fund-raising exhibition
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My contribution to Curtin's 2026 30x30 fund-raising exhibition
I want to talk to you, the one born on the same day as me (2026)
Mineral pigment 岩絵の具, clay pigment on washi on board, LCD screen, TouchDesigner simulation, star database and cabling.
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The painting insets an LCD screen displaying a star simulation I built that depicts over 2000 stars in their real life positions surrounding our sun.
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The painting insets an LCD screen displaying a star simulation I built that depicts over 2000 stars in their real life positions surrounding our sun.
cascade (2026)
Oil and steel on panel.
under the iron river (2026)
Oil and steel on pine
circe (2026)
Oil and steel on panel.
cast light (2026)
Oil and steel on board.
Bonfire / かがり火 (2026)
Mineral pigments, mud pigments, graphite on washi and board.
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和紙およびボードに岩絵具・土絵具・鉛筆
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This work was the capstone to my artist residency in Takeo City, Saga Prefecture in Japan with Arts Itoya. Calling upon memories and a close proximity to fire from the Perth hills, whether wild or handmade and its related spiritual connection here in Japan.
The work also collates a year of self taught Nihonga (日本画) utilising local materials Iwa-Enogu (Raw mineral pigment), Suihi-Enogu (mud pigments) and washi paper sizing.
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和紙およびボードに岩絵具・土絵具・鉛筆
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This work was the capstone to my artist residency in Takeo City, Saga Prefecture in Japan with Arts Itoya. Calling upon memories and a close proximity to fire from the Perth hills, whether wild or handmade and its related spiritual connection here in Japan.
The work also collates a year of self taught Nihonga (日本画) utilising local materials Iwa-Enogu (Raw mineral pigment), Suihi-Enogu (mud pigments) and washi paper sizing.
Gofun and Sakurayama / 胡粉と桜山 (2026)
Mineral pigment, mud pigments, washi paper on board.
face the universe and gaze upon the stars (2026)
Mineral pigment 岩絵の具, clay pigment on washi on board
please hear my voice, there is life living at the same time as you (2026)
Mineral pigment 岩絵の具, clay pigment on washi on board
they are calling out (2026)
Mineral pigments 岩絵の具, clay pigments on washi paper on board.
what kind of flowers bloom there (2026)
Mineral pigment 岩絵の具, clay pigment on washi on board
Don't Sleep Under the Banyan Tree (2025)
projection, incense, audience, computer unit.
"Invested in human perception and inspired emotionally by his experiences around dementia, Max presents an immersive installation, calling audiences to consider their inner sight, spirituality and psychology - and how these effect, ebb and result how people perceive the world around them."
Don't Sleep Under the Banyan Tree is an interactive installation, built from the photogrammetry scan of a real-life gum-tree. The installation beckons viewers to enter the space, surrounded by the 1:1 sized tree projected on two walls. As viewers explore the space, a incense altar becomes evident, alongside the artwork's reactivity.
Ever-present is the artwork's generative ambient soundtrack, that builds upon and reacts to the sounds in the space.
The space ultimately invites audiences to sit and reflect under the ubiquitous hum of the installation.
"Invested in human perception and inspired emotionally by his experiences around dementia, Max presents an immersive installation, calling audiences to consider their inner sight, spirituality and psychology - and how these effect, ebb and result how people perceive the world around them."
Don't Sleep Under the Banyan Tree is an interactive installation, built from the photogrammetry scan of a real-life gum-tree. The installation beckons viewers to enter the space, surrounded by the 1:1 sized tree projected on two walls. As viewers explore the space, a incense altar becomes evident, alongside the artwork's reactivity.
Ever-present is the artwork's generative ambient soundtrack, that builds upon and reacts to the sounds in the space.
The space ultimately invites audiences to sit and reflect under the ubiquitous hum of the installation.
A Shattered Visage Lies... (2025)
A Shattered Visage lies, a wrinkled lip and sneer of cold command, tell its sculptor well those passions read; which yet survive (2025)
Mineral pigment, animal glue on board. 204cm x 261cm x 3.5cm
The work employs three different “narrative scenes” (as is common in Asian folding screens) which told the story of three different nocturne plein-airs of three different times of night: twilight, 2am-dead of night and 5am pre-sunrise. Each scene set up to depict different physical and temporal locations yet designed to be read as one distinct landscape. The resulting image aimed to make viewers question their own lucidity, driven by an artist doing the same in the process of making the work.
The title is an edited excerpt of Ozymandias a poem by Percy Bysshe Shelley which is understood to be a story on the fall of societies and leaders. The artist aimed to reinterpret its reading as a fall of the mental faculty, whereby the mind is the “King of Kings” who in its hubris fails to last forever.
Mineral pigment, animal glue on board. 204cm x 261cm x 3.5cm
The work employs three different “narrative scenes” (as is common in Asian folding screens) which told the story of three different nocturne plein-airs of three different times of night: twilight, 2am-dead of night and 5am pre-sunrise. Each scene set up to depict different physical and temporal locations yet designed to be read as one distinct landscape. The resulting image aimed to make viewers question their own lucidity, driven by an artist doing the same in the process of making the work.
The title is an edited excerpt of Ozymandias a poem by Percy Bysshe Shelley which is understood to be a story on the fall of societies and leaders. The artist aimed to reinterpret its reading as a fall of the mental faculty, whereby the mind is the “King of Kings” who in its hubris fails to last forever.
Bedshaped (2024)
Oil and Charcoal on Canvas.
From A Home Among the Gum Trees exhibition.
From A Home Among the Gum Trees exhibition.
Coelacanth and I (2024) (Collaboration)
Etching inks and oils on paper.
Collaborative piece between Sarah Thornton-Smith (@sazts on insta) and I from A Home Among the Gum Trees exhibition.
Collaborative piece between Sarah Thornton-Smith (@sazts on insta) and I from A Home Among the Gum Trees exhibition.
The Land Before Time (2025)
Oil and Charcoal on board.
From A Home Among the Gum Trees Exhibition
From A Home Among the Gum Trees Exhibition
Bushwalk (2024)
37 Hand painted oil colour frames on glass - animation.
The process involved painting 37 still frames on a single pane of glass, then rubbing out the initial frame to replace with a slightly different image effectively animating on a single piece of media. This was added to by the novel use of oil paint as the primary medium creating a dynamistic and powerful appearance.
The artwork was exhibited in A Home Among the Gum Trees duo exhibition held at Midland Junction Arts Centre - presented on a portrait screen.
The process involved painting 37 still frames on a single pane of glass, then rubbing out the initial frame to replace with a slightly different image effectively animating on a single piece of media. This was added to by the novel use of oil paint as the primary medium creating a dynamistic and powerful appearance.
The artwork was exhibited in A Home Among the Gum Trees duo exhibition held at Midland Junction Arts Centre - presented on a portrait screen.
Nautilus (2025)
2025, Mineral pigments, animal glue and oil on board.
Ressentiment (2025)
TouchDesigner, Kinect Sensor, Projector, Audience Interaction.
Ressentiment is a small-scale installation that utilizes 3D Kinect sensors to capture a depth scan in real time of a viewer. This depth scan is then altered using optical flow and instancing tools to create a flowing and everchanging mirror image of the viewer. This image is then projected on the wall in front of them but will interactively disappear according to their proximity to the Kinect sensor. The resulting work places the viewer to consider an everchanging copy of themselves in the digital realm which is then projected into the real.
The title Ressentiment comes from a psychological concept where an individual may onload their inferiority or failures onto a scapegoat in the form of a resentment. The title Ressentiment aims to mirror an ever-fleeting version of self, our consciousness and a reality that is both threatened and destroyed by neurodegenerative disease such as dementia. Drawing from memories of my grandmother who suffered likewise Ressentiment aims to highlight in a novel way the experience of memory loss and the resulting effects that surround the individual. The title is an ironic play, in that the resentment and anger an inflicted individual may feel is not necessarily as a result of their own inferiority or failure, but rather that of a failing brain. The title thus, underscores the absurdity and perhaps the lack of understanding of what family members of an inflicted individual may feel: confusion, betrayal or resentment.
Ressentiment is primarily about this, the connection between our corporeal body to that of our soul. Presented by the ghost of a digital reproduction, reacting, copying and ultimately a capture of our current state.
Ressentiment is a small-scale installation that utilizes 3D Kinect sensors to capture a depth scan in real time of a viewer. This depth scan is then altered using optical flow and instancing tools to create a flowing and everchanging mirror image of the viewer. This image is then projected on the wall in front of them but will interactively disappear according to their proximity to the Kinect sensor. The resulting work places the viewer to consider an everchanging copy of themselves in the digital realm which is then projected into the real.
The title Ressentiment comes from a psychological concept where an individual may onload their inferiority or failures onto a scapegoat in the form of a resentment. The title Ressentiment aims to mirror an ever-fleeting version of self, our consciousness and a reality that is both threatened and destroyed by neurodegenerative disease such as dementia. Drawing from memories of my grandmother who suffered likewise Ressentiment aims to highlight in a novel way the experience of memory loss and the resulting effects that surround the individual. The title is an ironic play, in that the resentment and anger an inflicted individual may feel is not necessarily as a result of their own inferiority or failure, but rather that of a failing brain. The title thus, underscores the absurdity and perhaps the lack of understanding of what family members of an inflicted individual may feel: confusion, betrayal or resentment.
Ressentiment is primarily about this, the connection between our corporeal body to that of our soul. Presented by the ghost of a digital reproduction, reacting, copying and ultimately a capture of our current state.
Fallen Branch (2024)
Acrylic and charcoal on board.
Pictured left as a vertical diptych.
Shown at the Curtin First Year exhibition "Here".
Pictured left as a vertical diptych.
Shown at the Curtin First Year exhibition "Here".
Sunflowers (2024)
Oil and Charcoal on wood.
From A Home Among the Gum Trees Exhibition.
From A Home Among the Gum Trees Exhibition.
Oculus (2025)
Digital image on digital screen.
Utilizing blender UV map displacements.
Utilizing blender UV map displacements.
Oyamiyazaki Museum study (2025)
Small study of the Oyamiyazaki Museum of Fine art.
Oil on paper.
Oil on paper.
Treeline | Dissonance (2025)
Oil on board.
Red Heron (2025)
Digital painting.
Red Mane (2025)
Mineral pigments, animal glue on board.
Pluto (2025)
Mineral Pigments, animal glue on board.
View of Darlington (2023)
Oil on board.
Exhibited in A Home Among the Gum Trees
Exhibited in A Home Among the Gum Trees
Self Portrait with hair up (2024)
Oil and charcoal on paper.
Made very late at night, quickly scribbled out and painted when I saw my reflection in the window contrasted with the dark bush outside.
Kucing (2025)
Mineral pigments and animal glue on board.
Is It Selfish to just Want to Stare at the Blue Sky
19 Hand painted oil frames collated into a video animation.
Sonnet 2024
Watercolour on Paper.
Larrikins 2023
Oil on pine board.
Life Drawings 2024
Various Life drawings from Uni.
Mediums include charcoal, ink on paper.
Mediums include charcoal, ink on paper.
Five
Five oil paintings on pine boards.
Untitled 2024
Oil on Board.
Untitled
Pencil and Oil on paper.
Still Life 2024
Charcoal on paper.
Self Portrait 2024
Oil on board.
Guardian 2024
Pencil on cartridge paper
Trunk 2024
Oil and charcoal on paper.
Dusk and Thylacine
Oil on canvas
18'x14'
18'x14'
Valley of Giants (Marquette)
Small Marquette for a larger full painting.
Oil on Board.
Oil on Board.
3 Seconds in 47 Hours
A collective animation of 16 individual hand oil painted artworks that form the moving bird.
7'x7' MDF Boards
June, 2022
7'x7' MDF Boards
June, 2022
Untitled 2023
Oil on Canvas
The Iron Giant 2024
Welded Steel Wire and Steel Plating
Life Drawing Watercolour Studies
Watercolour on paper.
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