The FONOTECA logo by Maxim and Caspar

Max is an exceptionally talented artist and creative, who I met in Greenwich Market, London, in 2016. We’d both decided to visit one of my favourite pubs, the historic Admiral Hardy, for last orders, when Max approached me for a chat.

Max’s insights on philosophy, mathematics and geometry, far belie his years. As the son of a seminal artist, Sally McKay, perhaps it’s no surprise that Max has found a way to express his ideas through art.

To date Max has produced a series of 12 works, prints and etchings of his geometrical and rotationally symmetrical concepts. Each one is unique and thought provoking. When you start to learn about the depth of knowledge and imagination that goes into each piece you begin to see a brilliant mind simply doing it’s thing.

Three years ago, when the opportunity came along to run a monthly night at Malanga Café, a true ‘connoisseurs club’ for DJs and musicians, I contacted Max to design the emblem for the night. I wanted the night to represent musical freedom, but with quality. I knew that many of the guest DJs I’d invite would be friends and other kindred spirits who would share my appreciation for music, poetry, groove and dance floor spirit.

Why did Max come to my mind? Of course, there are many talented artists and graphic designers here in Ibiza, and others in the UK I could easily open conversations with. My initial ‘assignment’ for Max – after he’d already agreed to think about it, of course – was to help me design a graphics deck for the proposed website, consistent with a set of print friendly flyers and posters. Max’s simple and wonderful response, only a week or so later, was that graphic design wasn’t really his thing; the task I’d set had been completely misjudged. He instead offered a piece of his own work, the brilliance of which you can see every where FONOTECA goes.

Our logo is literally a work of art. The original etching measures 1 metre squared. Max’s obvious eye for shape and dimension is worked into a worm shaped, gyrating space dissecting a sphere such that the pattern, expertly positioned on its surface, marries perfectly with the apparent central spine to the ‘worm’. It’s an example, and a great one, of the way Max first explained his art to me. He spoke of optical illusions, and how mathematics governs everything we perceive, leading to the uncomfortable but inspiring theories which leave the most revered modern philosophers and physicists, and all the otherwise ‘interested’ people, with friction burns on their chins. There is a reassuring unity to Max’s work. Personally, I find his form of visual art right up my street.

I’m so grateful to Max, and so impressed by him for his achievements to date. Whatever the future holds, it’s a given that Max will have already considered most of the accepted understandings of ‘infinity’; he will be considering the quantum realm and dark matter while he’s buttering his toast, and he’ll have already had another idea while he’s still considering the last. It’s that kind of creative and exploratory mind which has moulded our barbaric race of hominids into something pretty respectful; considering how we’ve harnessed fire, tamed beasts, built cities and rockets, mapped the genome, and worked out that in essence we are (at best) pretty shit at governing ourselves. To feel like a higher power is actually in control of our infinite outcomes, there is undeniable relief. That subject and the subsequent dilemmas seem to underpin Max’s artwork. One thing’s for sure, I feel relieved when I look at Max’s work. It appeals to my similarly hyperactive mind. By his own admission, these pieces aren’t created to confuse; an illusion is a challenging thing, but it’s also universally adored. Babies, cats, Las Vegas… Everyone loves those things, and that’s why I think people will love Max’s art.

You can fully immerse yourself in Max’s ideas on his blog –

%d bloggers like this: