In a Time of Monsters
Parallax 9 REBELLION, 2026, oil, acrylic, spray paint, photo transfer, duct tape on canvas over panel, 74 x 66 inches
Parallax 12 (OUTLAW), 2026, oil, acrylic, spray paint, photo transfer on canvas over panel, 72 x 72 inches
Fear & Loathing in Los Angeles #3, 2025, Oil, acrylic, spray paint, photo-transfer, on canvas, 48 x 48 inches
Room 104, 2025, Oil, acrylic, spray paint, photo transfer, marker pen, sticker on canvas 72 × 96 inches
Parallax 38, 2025, oil, acrylic, spray paint, photo transfer on canvas, 40 × 30 inches
Parallax 39, 2025, Oil, acrylic, spray paint, photo transfer on canvas, 40 x 30 inches
Parallax 40, 2025, Oil, acrylic, spray paint, photo transfer, on canvas, 40x30 inches
SodaPop (Outsider Series),2024, All oil, acrylic, spray paint, photo transfer on canvas, 14 x 11 inches
Fear & Loathing in Los Angeles #2, 2025, Oil, acrylic, spray paint, photo-transfer, on canvas, 30 x 24 inches
Fear & Loathing in Los Angeles #5, 2025, Oil, acrylic, spray paint, photo-transfer, sticker, on canvas, 36 x 36 inches
Fear & Loathing in Los Angeles #6, 2025, Oil, acrylic, spray paint, photo-transfer, on canvas, 48 x 36 inches
Fear & Loathing in Los Angeles #7, 2025 Oil, acrylic, spray paint, photo-transfer, on canvas, 48 x 36 inches
Parallax #11 (BRUV), 2026, oil, acrylic, spray paint, photo transfer, duct tape, plastic tape on canvas over panel, 72 x 72 inches
Room 101, Chaos to Come, 2025, Oil, acrylic, photo-transfer, spray paint, marker pen, sticker on canvas, 72 x 96 inches
SNAFU 4, 2025, Oil, acrylic, spray paint, photo-transfer, sticker, on canvas, 58 x 36 inches
The Death of Munnin (Outsider Series), 2024, All oil, acrylic, spray paint, photo-transfer on canvas, 14 x 11 inches
Parallax #37, 2025, oil, acrylic, spray paint, photo transfer on canvas, 36 x 36 inches
Max Presneill’s paintings operate as dense, unstable systems of signs. His canvases bring together art historical reference, autobiography, subcultural material, gesture, text, symbol, and image into a shifting field of possible relationships.
With In a Time of Monsters, Presneill treats painting as a discursive space: a place where knowledge, conjecture, opinion, memory, and irrationality collide. His compositions resist resolution. Instead, they stage meaning as contingent, provisional, and vulnerable to failure. The works embrace uncertainty not as lack of structure, but as the condition through which new associations become possible.
Max Presneill I Artist statement
The paintings function as discursive formations between images, gestures, signs, symbols, in a fluid, contingent and multi-layered network of meanings and possible relationships. They incorporate, on the same picture plane, a mixture of art historical reference, autobiography and sub-cultural content in a shifting soup of knowledge, conjecture, opinion, guesswork, and the irrational. The connections between ‘events’ within that space create potential new relationships of meaning that accept uncertainty and the possibility of failure.