Max Reinhard's paintings of gossamer figures & beasts swim with emotive, ambidextrous mark-making & sensual, organic forms.

Reinhard’s practice is a direct negotiation with crippling chronic pain, which for nearly two decades dictated the frequency and duration of his ability to work. In a defiant act against these physical limitations, he adapted to paint with both his right and left hands. This ambidexterity has become an essential component of his work. Where his right hand often leads with muscle memory and has a tendency to overcorrect, his left hand demands patience and the surrender of control. The constant stimulation and feeling of helplessness cause a dissonance between the cognitive and the corporeal.

This shift is a technical necessity as much as it is an anti-ableist subversion of suffering in service of the art. Such a refusal challenges the capitalist notion that value is tied to performative productivity or polished, sanitized aesthetics. Reinhard’s ephemeral figures capture a self divided by systemic burnout yet reunited through a ritual of creation and radical self-love.

Max Painting in his Studio, 2024

Experimenting with mixed media & intuitive painting are additional methods Max uses to develop his ever-evolving style. These explorations bring a vulnerable curiosity & play into his process.

In a fast-paced society that demands constant output and industrial efficiency, Max Reinhard views art as a way to reclaim autonomy.

His visual language, informed by both the Impressionist and Expressionist movements, reflects the anxieties of a world increasingly automated and politically volatile. The feverish drive for productivity and the escalation of fascist regimes create external pressures that manifest as raw, impulsive energy and distorted forms.​