MAX HATTLER

Max is based in London, working mainly from home, generally just from a laptop. He travels a fair bit, in which case, he takes his work with him. He has a Master’s degree in Animation from the Royal College of Art and is completing a Professional Doctorate in Fine Art at the University of East London. “In the academic context it becomes increasingly important to have a Dr in front of your name. Only time will tell if it makes a difference.”

His work currently ranges from abstract short films to video installations to audiovisual performance. In the past he has also made music videos, concert visuals, a mobile application and one commercial. He is represented for commercial work by Logan and Sons in the USA and by JKD in Asia. For a few years now his focus has been on art-based, personal projects only. He is represented by Cimatics for audiovisual performances. But mainly he represents himself; most of his work comes directly to him, or he seeks it out directly. Commissions come from all over: UK, Holland, Russia, Japan, Hungary, Germany, Venezuela, France, Italy, Turkey, sometimes supported by cultural or arts funding, sometimes with a commercial sponsor, or realised in an educational context. He collaborates often, mainly with sound artists, musicians and animators.

He shows his work in exhibitions, film festivals and online. “I like mixing up platforms:  galleries for being able to show the work in its best possible way, festivals for getting it seen by peers and for the possibility of winning an award, and online for ease of access.”

STATE OF PLAY

The best kind of development support he could get is money to make work.

Max has won over fifty awards and ‘mentions’ to date. “It hasn’t made me filthy rich yet unfortunately.”

“One I’m particularly happy about at this moment is my film Sync being included in Tate’s Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013 (curated by Stuart Comer, George Clark, Tate Modern and Melissa Blanchflower, Tate Britain with independent curators Simon Payne and Andrew Vallance)

“When I started after graduating from the RCA in 2005, I was a bit more focused towards commercial work, following the general expectation of the people on the programme. The industry soon took a beating which resulted in less well-paid commercial work being available. This made me focus more on my art practice to the point where I all but abandoned commercial projects. So from my current perspective, the change in the industry was advantageous. I can’t really comment on the industry side at the moment as I’ve removed myself from it.”

“With animation being a very technically involved art form, technical developments do keep impacting on my practice. I try not to let my work be lead by technique though. I think online has helped immensely in getting my work out.”

ADVICE

“As with any other medium, for a sustained/sustainable practice it is tantamount to find ones own voice and a modus operandi one is happy with.”

Images: Max Hattler – films: Sync, Shift, 1923 aka Heaven