Max Gärtner

(1982, Heidelberg, Germany)


With his graphically abstract representations of various creatures, the Spanish/German artist, Max Gärtner, explores the tensions and interrelations between reality and the metaphysical, between the natural and supernatural.


Having completed his Graphic Arts degree in Barcelona in 2008, Max Gärtner went on, not only to be involved in a diverse range of projects with the art collective Barri Groc, but to also make a name for himself as an illustrator and character designer. In addition to this, his works of art were also displayed at various solo and group exhibitions throughout Europe.


He has been living and working in Berlin since March 2012, where he has further established himself and expanded his artistic spectrum within a variety of exhibitions. Even if Max Gärtner’s abstract works provide testament to his background in graphic design and illustration, he names grand masters such as Gustav Klimt and Egon Schiele among his most important influences and inspirations.


“I consider the hand-drawn line to be of extreme importance, it’s the basis for all my work. To draw by hand represents, to certain extent, presenting one’s most inner self – there is no room for deception, the spectator receives an unadulterated insight.”


This artistic statement is reflected in the stunning detail of his portraits, which always stem from the hand-drawn line, despite their exploitation of an array of techniques. Due to his fascination with nature and unerring interest in the animal kingdom, Max Gärtner has become known as “an explorer among artists”.


While the natural sciences aim to rationalise the world through chains of logic and the deliberation of facts, thusly implying a categorical separation of subjective and objective reality, through his work, Max Gärtner draws an opposing picture of this definition.


His new works vividly pervade the field of consciousness, in which rational thought and with it language, as a means of mediation, are both pushed to their limits. He subsequently applies his visual language in order to make this metaphysical level both tangible and palpable.



Iscah, 2017, hand-cut paper pinned on board, 137 x 113 cm

Nabi, 2017, hand-cut paper pinned on board, 120 x 95 cm

Isquita, 2016, hand-cut paper pinned on board, 54 x 40cm


Akira, 2018. Hand-cut paper pinned on board. 120 x 95 cm

Bronze Head, 2018. Hand-cut paper pinned on board, 120 x 110 cm

Muca, 2017. Hand-cut paper pinned on board. 120 x 95 cm

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