He paints with shadow. I sometimes have dreams where there isn't any light at all. Black things lurk against black backdrops and only the barely visible outlines give their presence away. He does something like this, working in the darker, paler spectra. Maxim is the most talented CG artist and art-director I had the pleasure of working with.
Apart from his darkness that is neither heavy nor noiresque, he has been visibly led by sensation, not reason. I remember him talking about a script for a video, in all details, shot by shot. 'What we are going to film is clear,' he said. 'Now we need to understand what it all means.'
A well-branded shot of Maxim, Gordon and Alcozombie, evidently from AltSpace times.
I suspect that this conflict of analytical thinking against introspection had been haunting him a lot. Oftentimes, he would counterpose himself against 'true artists', but was never able to explain who true artists were or what was so good about being one. Existential and communal also seemed to battle inside him as his ever misanthropic judgements didn't prevent him to be welcome in almost any company.
On the left: our then-colleagues Floor Oostenrijk and Ben Wager of INDG. On the right: me trying to match Maxim's style as I photoraph my stepdaughter Verka with Maxim himself in the background.
It was Maxim who inspired me to do some research on fictional possible worlds. He told me once that most of his 'hobby' renders come from the same world. I knew his imagery well, and the thought that his art could be presented as a time-dependent portal between worlds seemed very fresh.
Things and beings of Maxim's worlds.
As I write this, Maxim is with Mill+, one of the best CG agencies in the world. All I can do is hope that we'll share a half-pint of Dutch beer in a small pub called Chaos sometime again.