Page 8 - maxim art monograph

and the dynamic nature of the drawing, where the line itself conveys the entire narrative. Bishop Max- im exercises restraint in his use of color, ensuring it doesn’t overwhelm the drawing’s lines, which are potent and recognizable even from a distance.
Furthermore, it’s important to note that Bishop Maxim’s approach to the theme of Dostoyevsky’s he- roes is unprecedented. His artistic exploration ex- tends beyond this theme, showcasing freedom and originality in composition. His work, blessed with rich colors, is poised for further development, prom- ising continued innovation in his artistic journey.
Bishop Maxim has carved out a distinct personal identity in his art, setting himself apart from other painters and transcending easy comparisons. His study encompasses the revered old masters and great teachers of iconography, including Panselinos, Rublev, the art of Sopoćani, Theophanes the Greek, and Theophanes of Crete. Additionally, his work is informed by techniques from some of the great glob- al painters. He draws inspiration from specific art- ists across various eras, such as Chaïm Soutine, Goya, Modigliani, Van Dongen, Henri Rousseau, Raul Duffy, and Robert Delaunay. These artists may not be universally recognized as the pinnacle of painting, but their ingenuity, uniqueness, and unexpectedness are vital for stimulating the imagination and spark- ing unique moments in artistic creation. This inspi- ration is a precious gift from the Creator. The hum- ble recognition of this fact is crucial, as “God oppos- es the proud but gives grace to the humble.” In his work, Bishop Maxim exemplifies this humility, chan- neling his vast array of influences into a unique ar- tistic expression that is distinctly his own.
In one of his paintings, Bishop Maxim portrays a
city under a pink sky, embodying a naïve style akin to a painting by a willingly childish soul. The artwork bears features reminiscent of Matisse, characterized by a balanced perspective. This is a highly personal and authentic expression, where the painter ap- proaches the world and landscape with an inherent optimism.
Bishop Maxim’s soul perceives everything as “very good.” He believes that many who are labeled criminals were once good. In his depiction of fierce battles and bloodshed, where figures are running, jumping, and striking in a dance-like frenzy, the painting emerges as an allegory of the struggle for survival. In this chaotic scene, life triumphs over the darkness and blackness of war, which, although eas- ily ignited, ends as a bloodthirsty, all-consuming force. The source of this eternal movement and vi- tality? For Bishop Maxim, it springs not from else- where, but from the Christian ontology of the Future Age. Behind the figure of a giant warlord wielding his sword violently, we see an anger against evil and the old self within us, an appeal to conquer our baser in- stincts.
Regarding attire, Bishop Maxim doesn’t strictly adhere to the phylacteries of Byzantine tradition, yet successfully renders volumes in his unique way. His painting style is like a cool fountain of crystal-clear water, bringing a fresh touch to contemporary ico- nography. Unintentionally, and almost accidentally, he has discovered a unique visual identity. Such are the unpredictable games of art, and the more sub- conscious their execution, the better.
In most of Bishop Maxim’s paintings, we witness an eschatological depiction of the world, suggesting a deeper, spiritual rendering of reality.
8