IN CONVERSATION: MAX DANIELS
We catch up with Sydney-based artist Max Daniels for the low down on being an artist, a love for steel, and the best spot for a banh mi.
One overcast and moody summer day in January, we visited Sydney-based artist and friend of the Soup Universe Max Daniels, in a discreet studio hiding down a humble little inner-west Sydney laneway.
Max has been making magic (and art) happen in an old, repurposed garage for two years now, and rents the space from his mate’s mum. It’s a unique and tranquil space that offers him peace and isolation to make art, with the added perk of being close to his young family.
We saw Max’s show at Piermarq Gallery in March 2022 with Danish artist Thorbjørn Bechmann and wanted to chat to him about his process, his art practice, his favourite Sydney spots, and his love for well-made objects. Additional photography for this story come from Nick Bannehr and Docqment.
I: PAINTING THE LIGHT BETWEEN AN OBJECT
His work challenges historical representations of objects, his surroundings, light, and times of day. Through layers upon layers of translucent paint, he builds up geometric aura-like surfaces reminiscent of layered cellophane.
This is a long and tedious process, but when you’re left looking at the resulting work it’s akin to staring into deep ocean water, and feeling that brooding sense that something is down there. But unlike the ocean when the further you dive the murkier it gets, instead the closer you inspect Max’s paintings, more detail is uncovered.
Dappled Light, 2020
oil on canvas, 153 x 153cm
Sky #1
oil on canvas, 153 x 153cm, framed
“To draw a parallel, the impressionists, Monet used to talk about painting the light between the object or painting the air of what’s between the object and the person painting the object. …and when you study the impressionists, you learn they would typically practice by painting the same scene at different times of day to capture the light in different ways. So now, I’m painting things that might not exist to the naked eye. They do exist – but they’re mediated through my own eye.”
A Verdant Scene, 2019
oil on canvas, 153 x 153cm
Flare, 2022
oil on canvas, 153 x 153cm
II: THE 411 ON MAX
What’s a typical day look like for you?
I wake up really early and usually ride my bike down to the studio. I’ll often stop for a Pork Roll at Hong Ha which usually gets really busy later in the day. I’ll get to the studio around 8:30am and work for about 7-8 hours. I’ll apply new layers to paintings, build frames, attend meeting or phone calls. Throughout the day I’ll be listening to ABC Radio, and enjoy listening to Richard Fielder in the studio.
What are some memorable places for you?
Bronte and Tamarama have always been special places to me growing up around the area. They’re still good but very different to how they used to be. I also really used to like going to Nielsen’s park a lot (on the Southern Headlead of Sydney Harbour and Parsley Bay are also some of my favourite places. It’s also a place that is quite different now.
And how about some of your favourite galleries?
I’m represented by Piermarq in Surry Hills. They have a really exciting contemporary art program and are known for showing a mix of emerging Australian and international artists. It’s quite unique to Sydney and their space is world class.
Apart from Piermarq, other galleries that have great programs are Sarah Cottier in Paddington; Kronenberg Mais Wright, COMA and Chauffeur in Darlinghurst; and Firstdraft in Woolloomooloo.
Apart from art, what else interests you?
I have a real passion for craftsmanship and well made objects. So I collect a lot of old tools made during the eighteenth, nineteenth and twentieth centuries from industrial cities in the UK such as Sheffield. There are so many cool little details on them and you can see the consideration that went into making them. Think old saw, chisels, hammers etc. The quality of steel then was much better than what you get now from say, the big brands at Bunnings.
While I was studying, I bought a couple of old steel bikes from a friend and through research found out the frames were made in Japan. I dug myself into a bit of a rabbit hole trying to figure out who manufactured them and when. I believe they ended up being made during the 1960’s by a manufacturer called Tange. They have many unique details on them, like beautiful triangular gold joins. The frame was beautiful and so I ended up taking it apart, de-rusting everything and stripped all the original paint away and have been restoring these over time.
I was really impressed by the craftsmanship of them. I’m slowly restoring them when I have time.
III: MY FAVOURITE SPOTS
With Max’s help, we’ve curated a list of hot spots in Sydney’s outer & inner areas to experience on or off-bike:
RIDE:
Catch the train from Central Station to Katoomba and make your way down through Leura, Wentworth Falls and the other small towns on the fringes of the Blue Mountains before finishing up at Penrith station where you can get a train back into the city.
ROUTE: BLUE MOUNTAINS CANAPÉ
Distance: 50.9km / Elevation Gain: +294m
COFFEE:
Little Me is a hole in the wall type cafe that I’ve been visiting for years.
LUNCH:
South Dowling Sandwiches is an institution the art school students and inner-East locals know all too well. Get Max’s favourite – the chicken schnitzel with roasted carrots and pickles.
CRUISE:
La Perouse is a beautiful part of Sydney to chill out at and go for a ride. It’s way less crowded than at other beaches. It’s more residential and picturesque in a different way.
PUB:
Any old tiled pub from back in the day, before they were all Hemmes-ified. There’s a few that still exist and are great to catch up with friends or go and celebrate after an exhibition or gallery opening. My three favourites are The Cricketers and The Shakespeare in Surry Hills, and East Sydney Hotel in Wooloomooloo.
Map Making Courtesy of Soup Cartography Bureau
Keep up to date with Max in his studio right here.