My dad had cousins who built a geodesic dome in the woods, sometime in the late sixties. The walls of the cabin and its appurtenant outhouse were lined with cutouts and psychedelic posters from the era, just barely qualifying as artifacts by the time I set my eyes upon them. These were the first things that I recognized as art and they formed a kind of lens that I continue to look through as I extract the uncanny from the banal. Using collage, both digital and cut and paste, as a method of scavenging and organizing imagery, my work is characterised by a technique of drawing and painting under Plexiglas, inspired by various traditions of painting under glass that have been practised since antiquity, as well as traditional drawing on paper. Grafting together insects, people, plants and animals, objects and disparate shapes, I aim to depict an incessant comedy of hybridization, a  crossbreeding of the visible and the imagined. Born in 1974 in Canada, Max Wyse lives and works in Perpignan. Self-taught, he is active in the fields of drawing, collage and painting under Plexiglas, a technique he has been refining for the last twenty years. His work has been presented across Canada, notably in Montreal: Centre Clark, Galerie Trois
Points, Papier, Foire d’art contemporain d’oeuvres sur papier, Quebec City: L’Oeil de poisson, Rimouski: Musée régional de Rimouski, Vancouver, Toronto as well as in Paris and New York at Envoy Gallery. His works are part of several private and public collections, including the Musée régional de Rimouski and the Musée national des beaux-arts du Québec. He has received several grants from the Conseil des arts et des lettres du Québec and the Canada Council for the Arts. His work also appears in texts and publications on contemporary painting including Carte blanche, V2-Painting; The Magenta Foundation, Vendu/Sold, Regard sur la collection et le marché de l’art; Les éditions Esse, HB no2; HB edition.

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Ona Mestre