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maxomatic
Max-o-matic
Collage illustrator and artist
Head of @theweirdshowofficial
Rep: 🇺🇸🇬🇧 @wearesnyder_ | 🇩🇪 @2agenten | 🇪🇸 @themushroomcompany
New for The New York Times: Secret recordings, Hidden Shares and a Family Rift at the South Korean Giant LG.
Reporting from Daisuke Wakabayashi and Grace Moon. AD: Molly Bedford 🙏🏻🙌🏻
⭐️ @wearesnyder_
New for The New York Times: Secret recordings, Hidden Shares and a Family Rift at the South Korean Giant LG.
Reporting from Daisuke Wakabayashi and Grace Moon. AD: Molly Bedford 🙏🏻🙌🏻
⭐️ @wearesnyder_
New for The New York Times: Secret recordings, Hidden Shares and a Family Rift at the South Korean Giant LG.
Reporting from Daisuke Wakabayashi and Grace Moon. AD: Molly Bedford 🙏🏻🙌🏻
⭐️ @wearesnyder_
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
New animated digital collage for @hollywoodreporter s fifth annual Sustainability Issue. The brief: a nature specimen board cataloguing Hollywood’s climate activists and the causes they champion. Harrison Ford, Leonardo DiCaprio, Jane Fonda, Billie Eilish, and about twenty more, each pinned with their advocacy on file.
Thanks Ada Guerin and Clare Ramirez for such amazing project to work on
Thanks ⭐️ @wearesnyder_ ⭐️
#illustration #collage #digitalcollage #animation #sustainability
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
A telecom company handed over customer data to a military junta in Myanmar. People were jailed and even one was executed. Now there’s a lawsuit. I made this illustration for @SOMO_Amsterdam, the Amsterdam-based research centre that investigates multinational corporations.
Collage is good for this kind of story. You take corporate logos, surveillance metadata, soldiers, bodies on the ground, and put them in the same frame. The connections are already there. You’re just making them visible.
#illustration #collage
New cover for @variety about Warner Bros., David Zaslav, and the Paramount merger debate. The story digs into whether he saved the studio or set it up for a sale.
Great assignment to work on. Thanks Haley Kluge for the AD and the chance to work on this project.
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
One of the best pieces Max-o-matic (@maxomatic ) ever made got lost in a shipping box after a 2018 exhibition. Nobody knows where it is. This print is what remains.
The piece was part of a series made in late 2017/early 2018, shown at The Age of Collage in Hamburg — curated by Dennis Busch. One or two from the series sold. The rest were packed and shipped back. They never arrived.
He still thinks about it. Whether someone found them. Whether they recognised what they were looking at or just saw a few pieces of cut paper and threw them in the recycling bin. The originals are somewhere — in a storage unit, a skip, someone's flat — inhabiting a liminal space between this world and others. Or they aren't. He'll probably never know.
He calls it a quantum collage. Until he knows — which will most probably be never — it exists and doesn't exist at the same time. Schrödinger's Velázquez in the mall.
This wasn't just any work. "Velázquez in the Mall" was part of a series that marked a turning point in his practice — the moment his approach to collage shifted into what it is today. Which makes the loss stranger, and the print more significant.
Max-o-matic co-founded TWS in 2010. Fifteen years later, Edition 06 is his own work in his own gallery. The last of the Original Weirdos. And the only fixed point this particular piece has left.
TWS Edition 06. Limited prints. Three sizes. Link in bio.
#theweirdshowism #twseditions #maxomatic #contemporarycollage #limitededitions #thenewwaveofcollage #collectart
Illustration for Yahoo News about Timothée Chalamet’s unconventional Oscar campaign for Marty Supreme.
The piece looks at how he replaced traditional serious awards campaigns with viral stunts - rap videos, Instagram lives with giant ping-pong balls,
Made him as a puzzle because that’s what his campaign became - assembling disconnected pieces for maximum visibility. Method campaigning instead of method acting.
He was the frontrunner. He lost. The academy doesn’t usually reward young actors or brazen self-promotion.
Thanks Zana Kaba and David Marshall for the AD.
#illustration #collage
Illustration for Yahoo News about Timothée Chalamet’s unconventional Oscar campaign for Marty Supreme.
The piece looks at how he replaced traditional serious awards campaigns with viral stunts - rap videos, Instagram lives with giant ping-pong balls,
Made him as a puzzle because that’s what his campaign became - assembling disconnected pieces for maximum visibility. Method campaigning instead of method acting.
He was the frontrunner. He lost. The academy doesn’t usually reward young actors or brazen self-promotion.
Thanks Zana Kaba and David Marshall for the AD.
#illustration #collage
Illustration for Yahoo News about Timothée Chalamet’s unconventional Oscar campaign for Marty Supreme.
The piece looks at how he replaced traditional serious awards campaigns with viral stunts - rap videos, Instagram lives with giant ping-pong balls,
Made him as a puzzle because that’s what his campaign became - assembling disconnected pieces for maximum visibility. Method campaigning instead of method acting.
He was the frontrunner. He lost. The academy doesn’t usually reward young actors or brazen self-promotion.
Thanks Zana Kaba and David Marshall for the AD.
#illustration #collage
Illustration for Yahoo News about Timothée Chalamet’s unconventional Oscar campaign for Marty Supreme.
The piece looks at how he replaced traditional serious awards campaigns with viral stunts - rap videos, Instagram lives with giant ping-pong balls,
Made him as a puzzle because that’s what his campaign became - assembling disconnected pieces for maximum visibility. Method campaigning instead of method acting.
He was the frontrunner. He lost. The academy doesn’t usually reward young actors or brazen self-promotion.
Thanks Zana Kaba and David Marshall for the AD.
#illustration #collage
Illustration for Yahoo News about Timothée Chalamet’s unconventional Oscar campaign for Marty Supreme.
The piece looks at how he replaced traditional serious awards campaigns with viral stunts - rap videos, Instagram lives with giant ping-pong balls,
Made him as a puzzle because that’s what his campaign became - assembling disconnected pieces for maximum visibility. Method campaigning instead of method acting.
He was the frontrunner. He lost. The academy doesn’t usually reward young actors or brazen self-promotion.
Thanks Zana Kaba and David Marshall for the AD.
#illustration #collage
Digital collage illustration for Fast Company (@fastcompany )about IMAX’s growth while box office revenue stays flat.
Domestic ticket sales have been under $9 billion for three years straight. IMAX hit $1.28 billion globally in 2025, up 40%. They have 1% of North American screens but pull 20% of opening weekend gross for major releases. International films now make up 35-40% of their revenue.
Netflix gave them an exclusive window for Narnia. Text: Thom Geier. AD: Alice Alves.
⭐️ @wearesnyder_
Digital collage illustration for Fast Company (@fastcompany )about IMAX’s growth while box office revenue stays flat.
Domestic ticket sales have been under $9 billion for three years straight. IMAX hit $1.28 billion globally in 2025, up 40%. They have 1% of North American screens but pull 20% of opening weekend gross for major releases. International films now make up 35-40% of their revenue.
Netflix gave them an exclusive window for Narnia. Text: Thom Geier. AD: Alice Alves.
⭐️ @wearesnyder_
Digital collage illustration for Fast Company (@fastcompany )about IMAX’s growth while box office revenue stays flat.
Domestic ticket sales have been under $9 billion for three years straight. IMAX hit $1.28 billion globally in 2025, up 40%. They have 1% of North American screens but pull 20% of opening weekend gross for major releases. International films now make up 35-40% of their revenue.
Netflix gave them an exclusive window for Narnia. Text: Thom Geier. AD: Alice Alves.
⭐️ @wearesnyder_
Digital collage illustration for Fast Company (@fastcompany )about IMAX’s growth while box office revenue stays flat.
Domestic ticket sales have been under $9 billion for three years straight. IMAX hit $1.28 billion globally in 2025, up 40%. They have 1% of North American screens but pull 20% of opening weekend gross for major releases. International films now make up 35-40% of their revenue.
Netflix gave them an exclusive window for Narnia. Text: Thom Geier. AD: Alice Alves.
⭐️ @wearesnyder_
Digital collage illustration for Fast Company (@fastcompany )about IMAX’s growth while box office revenue stays flat.
Domestic ticket sales have been under $9 billion for three years straight. IMAX hit $1.28 billion globally in 2025, up 40%. They have 1% of North American screens but pull 20% of opening weekend gross for major releases. International films now make up 35-40% of their revenue.
Netflix gave them an exclusive window for Narnia. Text: Thom Geier. AD: Alice Alves.
⭐️ @wearesnyder_
Digital collage illustration (and animated bonus) for Fortune about AI killing SaaS. Or not killing it. Depends who you ask.
Anthropic’s Claude Cowork can now handle legal tasks, and investors panicked - billions wiped off specialized software companies. Some call it the SaaSapocalypse. Others say it’s overblown hysteria. The debate rages on, but the underlying question is ancient: when new technology arrives, what actually dies and what just evolves?
AD: Leah Bailey & Josue Evilla
⭐️ @wearesnyder_
Digital collage illustration (and animated bonus) for Fortune about AI killing SaaS. Or not killing it. Depends who you ask.
Anthropic’s Claude Cowork can now handle legal tasks, and investors panicked - billions wiped off specialized software companies. Some call it the SaaSapocalypse. Others say it’s overblown hysteria. The debate rages on, but the underlying question is ancient: when new technology arrives, what actually dies and what just evolves?
AD: Leah Bailey & Josue Evilla
⭐️ @wearesnyder_
Digital collage illustration (and animated bonus) for Fortune about AI killing SaaS. Or not killing it. Depends who you ask.
Anthropic’s Claude Cowork can now handle legal tasks, and investors panicked - billions wiped off specialized software companies. Some call it the SaaSapocalypse. Others say it’s overblown hysteria. The debate rages on, but the underlying question is ancient: when new technology arrives, what actually dies and what just evolves?
AD: Leah Bailey & Josue Evilla
⭐️ @wearesnyder_
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