La Forma del Tiempo ("The Shape of Time") brought together new graphite drawings by Max Sir alongside works by the celebrated Chilean hyperrealist painter Claudio Bravo, at Sala Viña del Mar. The exhibition was organized by the Corporación Cultural de Viña del Mar, the Municipio de Cuidados and Fundación Tarquinia, and opened on 20 February 2025 with free admission, running through the end of March.
For Max Sir — born in Viña del Mar and, at the time, based in Lviv and Kyiv amid the war in Ukraine — the show doubled as a homecoming: a return to his native region and to the same coastal landscape where Bravo himself was born, staged as a quiet act of solidarity between his adopted and native countries.
The series takes Bravo's meticulous realism as a point of departure and turns it toward animals — skulls, horses, goats — read not as zoological studies but as vessels for something human and symbolic. Rather than photorealism, Max Sir describes his approach as a "theory of slowness": patient, observational drawing that resists the immediacy of photography and, more recently, AI-generated imagery. Each line is treated as a deliberate pause, a ritual and almost meditative act closer to cave painting or shamanic practice than to documentation.
For Max Sir — born in Viña del Mar and, at the time, based in Lviv and Kyiv amid the war in Ukraine — the show doubled as a homecoming: a return to his native region and to the same coastal landscape where Bravo himself was born, staged as a quiet act of solidarity between his adopted and native countries.
The series takes Bravo's meticulous realism as a point of departure and turns it toward animals — skulls, horses, goats — read not as zoological studies but as vessels for something human and symbolic. Rather than photorealism, Max Sir describes his approach as a "theory of slowness": patient, observational drawing that resists the immediacy of photography and, more recently, AI-generated imagery. Each line is treated as a deliberate pause, a ritual and almost meditative act closer to cave painting or shamanic practice than to documentation.
In the Studio
Drawings
