Featured Artist Max Lehman

Enter the fascinating world of Max Lehman, who presents his sculptural portfolio. Be sure to visit his website for more information about this artist and his work.

 

Templo Azul

“Templo Azul” (1993 Neo Mayan Series) low fired earthenware with acrylic paint, 24”h 15”w 12”d

 

I am originally from Fort Knox, Kentucky, but I currently reside in Nambe, New Mexico. I attended college at Arizona State University in the 1980’s, majoring in Media Arts while also studying Pre-Columbian art history.

 

Black Eyed Susan

“Black Eyed Susan” (2013) low fired earthenware with glaze, underglaze and wire, 38”h 16”w 12”d

 

Most of my training in ceramics came by practical experience. I apprenticed at the F&R Pottery Studio in Cave Creek north of Phoenix and later went on to work for the Red Horse Clay Company.

 

Gidget Goes to Saturn

“Gidget Goes to Saturn” (1988 Space Series) low fired earthenware with acrylic paint, 36”h 18”w 12”d

 

Much of my current body of work is based upon the concept of Dystopia*. I intentionally attempt to make my pieces “creepy-cute” as a direct response to the prevailing principles of Pop Surrealism.

 

Tlalocan, Paradise of the Rain Goddess

“Tlalocan, Paradise of the Rain Goddess” (2011 installation created for the Santa Fe Storefront Windows Project) ceramic elements low fired earthenware with glaze, underglaze, acrylic paint, wire and neon, other elements painted wood, electric lights and printed fabric, 12’h 16’w 14’d

 

I have a tendency to pick and choose my cultural references at will. Exercising unrestrained disregard for tradition or convention gives me the ability to process new ideas rapidly.

 

Bubbles

“Bubbles” (1996 Dogs in Drag Series) low fired earthenware with acrylic paint, 32”h 14”w 12”d

 

Skeletons are a recurring theme in my work. My fascination with skeletons is primarily from exposure to Mexican culture and immersion in the Punk music scene. I do not see skeletons as representations of death.

 

Juntos Para Siempre

“Juntos Para Siempre” (2013 for the Herradura Tequila Barrel Art Project) ceramic elements low fired earthenware with glaze, underglaze, acrylic paint, and wire, other elements an actual oak tequila barrel (empty) painted wood, and electric lights, 48”h 42”l 28”w

 

The Mexican folk artist Alfonso Castillo has influenced my approach to art, in imagery, construction and decoration. He is one of the most highly regarded Days of the Dead artists.

 

Carmen Miranda

“Carmen Miranda” (2007 Cha Cha Bunny Series) low fired earthenware with glaze, underglaze and acrylic paint, 34”h 16”w 12”d

 

My connection with Hispanic culture is due to my being one of the first Anglo artists voted into a Hispanic Art Collective that based in a downtown barrio in Phoenix, Arizona in the 1980s. Movimiento Artistico Del Rio Salado or MARS for short was a foundational period. It was during my time there that I formed my earliest concepts on art formulated out of street culture, Mexican Folk Art, Dia de los Muertos and the concepts of cultural diversity and inclusiveness.

 

Red Skeleton with Black Birds

“Red Skeleton with Black Birds” (2011) low fired earthenware with glaze, underglaze and acrylic paint, 27”h 14”w 11”d

 

Living in and around Santa Fe for 25 years has created a deep connection to northern New Mexico, its people and the quirkiness of daily life here.

 

Dawn in the House of Knives

“Dawn in the House of Knives” (2014) low fired earthenware with glaze, underglaze paint and wire, 62”h 24”w 12”d

 

Presently I am the webmaster at the New Mexico Tourism Department in addition to pursuing a full-time art career. This situation provides a unique perspective of moving between the technological to the tactile realm on a daily basis.

 

Mayan Mobile

“Mayan Mobile” (2009 Car Series) low fired earthenware with glaze and underglaze, 29”h 10”w 15”d

 

* Dystopia: A futuristic, imagined universe in which oppressive societal control and the illusion of a perfect society is maintained through corporate, bureaucratic, technological, moral, or totalitarian control. Dystopias, through an exaggerated worst-case scenario, make a criticism about current trends, the societal norm, or political system.

 

 

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