BY SHALEEN DESTEFANO
We can think of nothing more beautiful than the neon glow of iconic Denver haunts that make our city feel alive. For those of us who grew up here and have seen too many sacred places fall to the wayside, it makes us eternally joyful when an artist immortalizes beloved landmarks into masterpieces that stir nostalgia. Max Kauffman is the visionary who has turned cherished local spots into eternal works of art, bringing a fresh perspective to the spaces that for so many, feel like home. In this article, Max gives us a glimpse into his studio, process and journey, telling us about his vibrant connection to this muse of a city.
Tell us a little bit about your background. How did your journey in art begin?
Sometime in high school, I decided clay was the coolest thing ever. Maybe before? I remember making crappy Mr. Bill videos in the 5th or 6th grade with some classmates. But it felt worth learning about and in 2004, I received a degree in ceramics and anthropology from Arizona State. That latter portion continuously informs my work, and the former more than I realize. Watercolor found me around 2004-5, and it has haunted me to the present. Denver wise, an early show that felt important was at IndyInk alongside Mike Gallegos in 2008, then several over the following years with Adam at Illiterate and then Gildar Gallery. Black Book was another refreshing place, & a memorable show – Risa Friedman surprised me with cookies at my opening in 2013. I think it was the first time we met. They also took my work to fairs, something I never had conceived possible.
Who were your early influencers?
So much of my early inspiration was musicians: Talking Heads, Phish, the Fiery Furnace’s insane song structure, Wilco. Rap for all time. The emotion you could reflect with art in that way was really appealing to me. As well as the power of improvisation. On the Visual side, Geiger, Chagall, & Escher were exciting. Later skateboarding showed me illustration: folks like Ed Templeton, Thomas Campbell, & Jim Houser. As I learned about modern practices (of that time) it came from Juxtapoz: Jose Parla, Futura, Doze Green, the mission school, Jeff Soto, Robert Hardgrave.
Your work weaves between abstract and realism, from sculpture to painting and you also write. Where do you find your inspiration and how do you see your work evolving?
It comes from all over – flipping logs in the woods, hanging with buddies, cooking, laughing, seeing shows, seeing people making work because THEY HAVE TO, and more.
As far as different mediums – I find they inform one another, and it’s a joy to find a familiar voice in new places. Long ago I was afraid of changing my style, and a friend assured me that my touch was present in the different things I did. That has reassured me for a decade now!
Lately I am obsessed with translating my style of drawing better into large work – telling softer stories with a big voice.
What is your state of mind when you are creating?
Quiet ideally. Music, plant focus, getting to a flow state. Almost feels like meditation. My work generally looks to memory – the things we uplift & adorn, and the things we might try to block out. I enjoy thinking about the mental map of a place – the landmarks of a city or places that matter to you, and how they appear in your mind vs in real life. This translates to lots of things made and destroyed in a strange dance as each piece comes along.
What’s your take on the Denver art scene? Do you have any favorite local artists, and would you ever consider collaborating?
It has been immensely supportive: the first place I shared and was embraced by others. Where I could make a small semblance of a career out of my thoughts and ideas. A few favorites: William Stockman, Brittany Gould, Jaime Molina, Brian Robertson, Doug Spencer, Katherine Rutter, Mike Strescino, Julio Alejandro, Paloma Jimenez, and so many more. I love collaborating when done properly. At its best it’s like you’re in a garage jamming with other humans. Of the above list, there are only two names that I haven’t collaborated with!
You have a distinct style, what are your guiding principles when choosing your subject matter?
Something that strikes me. I love found objects, found compositions, real things that feel otherworldly. I take lots of photos – maybe I reference them that week, or maybe its five years down the line. Though I sometimes improvise heavily, there are usually a few studies to see where something could go.
We have fallen in love with your pieces depicting local haunts like the Lions Lair and the Bluebird Theatre, immortalizing them forever. As locals, we have seen many of our favorite spots disappear over the years. What is your take on Denver’s growth and the loss of gems along the way?
Denver sadly has torn down & hidden its history over and over again. Finding those special little places that hold on and continue to be magical can be challenging. BUT, there is still so much here – especially in our neighborhoods. Even certain streets have just, miles of gorgeous architectural history. Having a renewed focus on our fair city for this series, it is exciting to discover plenty of new (to me) landmarks, dives, music halls, and more. There are secrets still.
Can you give us a visual of your studio? Is there music playing? Do you work better at night or during the day?
Daytime, earlier the better. I make sloppy choices at night, it doesn’t serve me other than exploratory moments. Music almost always, though pure silence is golden when the setting is right. Coffee, pipes, way too many brushes, usually there are notes with next moves for the painting I’m working on.
Earlier this year I was in maybe the most beautiful space I have ever created in, one of the rooms at the Evans school. Wooden floors, high ceilings, natural light abounding. For the last few months I am enjoying being in an old haunt in five points. The excitement of working alongside so many friends is inspiring. There’s a comfort to being in there – it has been a space for artists for 20 some years.
Where can we see your work and what can we expect from you in the future?
This December, I’m having my first Denver solo show in four years! I have explored ideas of architecture in my work for many years, attempting to convey this idea of sanctuary. For this body of work, I looked to places I’ve spent time in and felt the magic of. To have others share this sentiment is a new level of connection to what I hope to do. While building this show, I had a lovely chat with Anthony Garcia, who reminded me that these are structures of community. We are left with fewer each year, so I aim to honor them, before they are gone. Spirit Monuments is on view at Alto Gallery through December 28th. Alto is open Wednesday – Saturday, 11-3 pm.
Thank you so much, Max, for sharing your beautiful work with us. If you’d like to see his art in person, visit Alto Gallery (altogallery.com) or check out his vast catalog of work at wittybanterism.com.