A little bit about Wall Sculptures and Paintings (1988)
Max Springer produces figurative and non-objective mixed media works on paper, oil and acrylic paintings on wood panels, sculpture, and sculpted pieces that are designed to be mounted on walls. He is presently involved in four separate areas of work, of which two series are wall sculptures and two are paintings.
The wall sculptures are created from gessoed, cut layers of wood which are then painted in oils or acrylics. Each series is comprised of several individual pieces - installed to explore existing architectural space.
Conceived in 1985, these figurative works in oil on sculpted wooden panels show nude human figures posing in various aspects of introspection. The images of individuals feediog on themselves address the notion of 'Life' feeding on itself, while at the same time encompassing the broad areas of narcissism, entropy, and the maturity of our planet These figures also speak to the idea that many people look inward, rather than outward, for intellectual and spiritual nourishment.
The chair series reflects the theme of the play, Rashomon, by Akutagawa, in which three people see the same event and later have to recount it to a judge. All three provide accurate descriptions, yet give radically different views, suggesting that there are many universal truths and that language is a weak tool to explore them.
This series delineates multiple renditions of chairs, none of them functional and yet fitting the description and 'truth' of chairs.
The Mud Men were created from the Hopi concept of the Gods who are part of the earth and guard us from...They are at times inspired by these Gods and cover themselves with earth mud to make us look at the private aspects of ourselves. Just like the European 'court jester', these Mud Men divert us from our usual view of life and permit us to see the world in a new light.
The wolf may be viewed as a symbol of the love behind the violence of nature. The nurturing part of the wolf is similar to that of the human. Although wolves kill, they do so in order to survive. The symbol of the wolf can be put into many different contexts. At times, it is dangerous, at times benevolent.
These large, non-objective paintings symbolize how paint is the multi-colored expression of movement in space. Just as music contains its own rhythms and beats, these paintings, with their highly structured patterning, suggest the need for individuals to organize things which are quite random. Repetitiveness, structure, and restraint are maintained by humans in order to keep a sense of order and meaning in their lives. In spite of these restrictions, there are still countless opportunities for creative choices.
