b. 1984, Germany

Recurring throughout Maximilian Magnus’s varied oeuvre – which spans painting, drawing, collage, and video art – is his exploration of the disruptive power of paint, or of mark making more generally. Often allowing the paint to run freely across his canvases, Magnus relinquishes control over their final design to the media itself. In works like old becomes new, and Na Da, vivid and expressive compositions are obscured behind curtains of thick white paint that appear to creep towards the bottom of the canvas. As such, Magnus’s works are a provocative visualisation of notions of temporality, transience, and renewal.

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