SENSITIVE CONTENT
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SENSITIVE CONTENT 〰️
[UN/FVSHIXN x TISSUS VÉNUSIENS x PETITS DÉTRITUS] RACK
2016,20211 of 1 ULTRA RARE PERFORMANCE GARMENTS, from PATER_CIDA performance & multimedia mythos. charged & activated through various performances, actions, and rituals. where art & garment meet. androidsinthetower.com
A ROSE FOR VEGETA (LILITHAEN LOVE ON OMEGLE) at other times known as OMEGLE DATE WITH LILITH-CHRIST
2020-202224x15” FABRIQUE TRAPESTRY (1.6oz mulmul muslin digital fabric print), thrifted frame.STATIONS OF THE POISON HEARTS OF GLASS
2021 & 2022(KILN FIRED FUSED BULLSEYE GLASS) & Purple LED light installation & sculptures. 14 glass heartsBLACK DRILL CHERUBIC PWR DREAM VIOLENCE LIBERATION WAVE WORSHIP[POP] REVIVAL
2022Pulp fiction novella chapter 16 Page, b&w, 5.5x8.5” (EXPLICIT)(Edition of 100)ANDROIDS IN THE TOWER
2020,2021, 2022Visual Poem publication #pages, full color , 8.5x11” (EXPLICIT) androidsinthetower.com (Edition of Final 15)
BYZANTINE & TRAPEZUNTINE FAITHS (towers of TREBIZOND)
2021,2022(KILN FIRED FUSED BULLSEYE GLASS) installation & sculpture, thrifted drawer. dimensions variable.EPI_GENESIS 18x30” FABRIQUE TRAPESTRY (1.6oz mulmul muslin digital fabric print)
ANDROMEDA IS ETHIOPIAN / ZOË KRAVITZ IS MAXIMILIANÖ (NO MORE FALLNN LOVE)
202248x72” FABRIQUE TRAPESTRY ( Real 100% Silk Crepe de Chine 1.77 oz digital fabric print) & 20x28” wooden frameZOË CLONE GLASSWORK INSTALLATION SERIES (Works 001-023)
(KILN FIRED FUSED BULLSEYE GLASS)
STACEY DASH as _____
202210x10’ FABRIQUE TRAPESTRY (1.6oz mulmul muslin digital fabric print), red thread, purple latex paint, miller paint pint can & black packing wrap.
NEON VENICE
2022 (KILN FIRED FUSED & SLUMPED BULLSEYE GLASS) with heart mold, frit & stringer. Nail. IN SPRING I GOT THE “IM SPRUNG” DM I
2022Montana Yellow Graffiti & Tag Marker pieces, yellow paint, installation & painting 
OF COURSE ANDROIDS FELL FROM TOWERS, UNALIVED. UNDER A PARKING LOT. DREAMS TO ECHO CENTURIES LATER ANDROIDS, I MEAN ANGELS. HEIR’D NEPHILIM AND EARTHHEARTS, STILL WHISPER; SORRY.
2021 & 2022 ~22”min 3 video channel & 2 audio channel installation. Footage shot on location at Portland Art Museum, Performance Works Northwest, Alberta Abbey, and Paragon Arts Gallery. Starting Stevie Biga & Eric Fury, additional performances by maximiliano & Onyx Andra. Video & performance by maximiliano (some footage shot by ruben garcia marrufo)
TEE UNIT 001 [UN/FVSHIXN x TISSUS VÉNUSIENS x PETITS DÉTRITUS]
2014, 2017-2019, 2020-2022
1 of 1 performance garment print, activation thru live performance & video, covert actions. a lived and charged garment.
FABRIQUE TRAPESTIES ON THE WIRE
2020-2022
various FABRIQUE TRAPESTIES ( digital print on fabric, dimensions & fabrics variable)
STEVIE BIGA & ERIC FURY
2022
painting, sculpture , post performance. Paint on wall, Black packing plastic performance activated.
BLVK GVLVHVD mythos
2019-202220x28” FABRIQUE TRAPESTRY FRAMED (1.6oz mulmul muslin digital fabric print) wood & acrylic frame.WATER HEART VENUS VODKA BROKEN & BURNED GLASS MEDITATIONS & CORAZONES
2022KILN FIRED ABSOLUT VODKA BOTTLE GLASS, concave slumped & heart molded & shardUNTITLED (ABSOLUT VODKAGLASS BAD ROMANCE)
2022(KILN FIRED FUSED ABSOLUT VODKAGLASS)UNNAMED SNAKE CULT
202030x25” FABRIQUE TRAPESTRY (1.6oz mulmul muslin digital fabric print), 
THEY’VE TAKEN MY TONGUE OUT, NOW I SEE THE TRUE FACE OF GOD, AND THE ANGELS OF REVELATION, MATING WITH MY PAST _____ __ ___ ___ _______ ____ ___ _______, THE COLLAPSES OF RELATIONSHIPS WE ARE TOO BROKEN TO LOVE EACH OTHER ___ ___ ONLY HURT MORE __ ____ FOR THE LIES __ ______ __ ___ ______ WE WERE ALL WANTING OUR NUT AT ANY COST, AT ANYBODY BURIED OR ASSUMED INTO THE SKY
2021 50x96” FABRIQUE TRAPESTRY (1.6oz mulmul muslin digital fabric print), framed photo of Mother & Grandmother, framed photo of Aunt Irma.
art review: maximiliano at Paragon Arts Gallery
The artist's fall show "SENSITIVE CONTENT" explores censorship, art history, and societal collapse in full-gallery installation of interrelated mediums.
OCTOBER 20, 2022
At the end of summer, I noticed an image crop up on my Instagram feed. It was blurred by a gradient of colorful pixels and overlaid with the text: “this photo contains sensitive content which some people might find offensive or disturbing.” I wondered what maximiliano, the artist behind this censored post, was teasing, ostensibly their upcoming exhibition at Paragon Arts Gallery. I skimmed the caption, “SENSITIVE CONTENT COMING SOON 9/30/22”Following my curiosity, I snuck an IRL preview of SENSITIVE CONTENT at Paragon in early September, during maximiliano’s month-long residency there. I arrived on site with the preconceived notion that I might encounter the censored Instagram photo unblurred. I readied myself for imagery that would take respectability politics head on and toy with notions of being “offensive” and “disturbing.” Yet, contrary to my expectations, I was greeted by a wide range of works that conjured more curiosity than shock value. These works—of painting, video, glass, fabric, printed matter, and more—troubled my concept of censorship altogether. One the whole, SENSITIVE CONTENT reflected maximiliano’s ideation across a growing arsenal of mediums. They created much of the work for this show in 2022, but also integrated material from years prior. During my visit, I felt the exhibition begin to take shape through incoherent coherence, unfurled over time and threaded through with obfuscated logic from maximiliano’s long standing artistic research—logic that I could trust without needing to fully know or name.At the gallery, maximiliano introduced me to several digital fabric prints featuring portraits of strangely familiar people. One black fabric print contained the outline of maximiliano’s body superimposed with the head of actress Zoë Kravitz. “I’m starting to look for avatars or for other forms of self to be my self-portraits,” maximiliano shared. Another fabric print featured mirror images of Stacy Dash with overlaid yellow text. Some of the text was redacted with dark rectangles, reading, “in the age of clones & [redacted] chthonic [redacted] for love for [redacted],”These poetics (and redactions) conjured up ideas of an ancient unsolvable saga. They read like a foreboding prophecy from the book of Revelation in the Bible, both urgent and ambiguous. I wondered: Is all of this a metaphor, or does it mean exactly what it says? Based on my time at Paragon with maximiliano, I would put money on the latter. Our discussion drifted toward climate disaster, mass shootings, rich people getting richer, and the fate of humanity. “It’s going to be Parable of the Sower, with the slow crumble where every day shit is a little shittier,” maximiliano told me, adding, “My art has lived at these intersections, at these last decades.”For maximiliano, “last decades” refer to periods of declining empires, such as the Crisis of the Third Century, the Belle Époque, and the Fin de siècle. These frames of reference contextualize consistent use of historical art within previous works. For past projects, maximiliano has often placed themselves in the European canon, e.g. collaging their body with Rococo paintings and sculpture in a manner that collapses time and unsettles history. However, they mused to me, “I think I’m very comfortable in the present in the corruption and the grime, and the decaying decadence, and knowing that we’re in this slow crumble.” Maybe this vantage allows more space for critical pastiche, illuminating the illusion of what has been.The three videos featured in this installation are often edited to invert color, outlining Biga and Fury so they appear like characters in an animated story. They are shown jumping on furniture while wearing LED animal masks, walking around the cityscape, and creating a large mural while in states of undress—a mural that now exists as part of SENSITIVE CONTENT along with plastic residue from the process. The videos of Biga and Fury creating this work sit far apart from the work itself, cohering across the distance of the exhibition. Their mural spirals around a strong focal point, covered in handprints of deep purple with accents of yellow, green and pink. The upper righthand corner reads, “To All Who Challenge God, we salute you!!!” This poetic gesture finds continuity with the more diffuse phrases painted by maximiliano across the other gallery walls.Some phrases catch my eye: “POISON HEART” “GOOSE 4 BREAKFAST” “NEEDIT TO GET HIGH Y’ALL” “TOO MUCH BABY” “FAT BOY = CHERUBIM” I notice some words on the walls have been entirely redacted with paint. The most legible phrases—interspersed between splashes of pink, red and purple color—engender a notion of poetic censorship, calling in multitudes of meaning with minimal use of language. *** During our preview visit, maximiliano referenced mark-maker Cy Twombly as an early influence on their art practice. “The first thing that brought me into art was being twenty years old and taking a painting class, and making the marks with the oil brushes on canvas,” they recalled. “There’s something romantic about painting, the way a paint moves and is applied. There’s a tactile sensuality almost…” Their affinity for paint emerges in SENSITIVE CONTENT, where indulgent drips and gestural swaths of color take up space on the walls. Their natural inclination toward mark-making also culls up a new conceptualization of lineage—maximiliano believes that they exist in a genetic line of markmakers:“You know, sometimes you wonder if you’re on the right path. You’re tired of being broke and inconsistent paychecks, and no one gives a fuck about artists, and the world’s ending…” They continued speculating, “Well, I don’t know what else I’d be. Maybe this is like I’m supposed to be making marks.”Through mark making, imaginative collaboration, poetics and redactions, maximiliano pulls back the veil on their SENSITIVE CONTENT. They tension the unstoppable decline of contemporary society with their own drive to seek out manifestations of self through means at hand. Using critical pastiche, they render a strategic form of censorship, dawning masks and finding avatars capable of things unimaginable in this crumbling empire.