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This work by MaxKafe is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
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Visual art, design and craft work by Max Coffey from 1950 to 1980.
In my late teens, cars, especially custom cars and hot rods, occupied much of my life. This 1952 Chevy was purchased in 1953 and endured constant working, reworking and customizing. The body type was similar to other General Motors cars of the same period. I searched junk yards for parts from other Chevrolets, Pontiacs, Oldsmobiles, Buicks and Cadillacs. Headlight rims were from a Mercury. Grill from 1953 Chevy. Tail lights from a 1956 Corvette. One piece windshield from an Oldsmobile. The suspension was modified to lower the car about three inches front and rear. Dual exhaust pipes were routed through the lower body under the rear doors. Door handles were removed and replaced with a tool carried on the key chain. Much of the chrome trim was removed and holes filled. As many vertical elements as possible were removed or hidden to give the car a long and low look. I installed seat belts because I realized they held me in position on the bench style seat and provided some security. This was in the nineteen-fifties, before safety equipment, radial tires, bucket seats and many other things. The car was always a work in progress and never really completed. This sketch was created during that period.
Ceramic sculpture of stylized head of man. Completed during undergraduate program. Bachelor degree completed in 1961.
Ceramic sculpture of stylized head of a man. Completed during undergraduate study.
Carved walnut wood sculpture of abstract angelic figure. Completed during undergraduate program.
Carved walnut wood sculpture of abstract angelic figure. Completed during undergraduate program.
Carved walnut wood sculpture of abstract angelic figure. Completed during undergraduate program.
Carved walnut wood sculpture of abstract angelic figure. Completed during undergraduate program.
Nine pieces of wheel thrown and hand built pottery. Completed during masters study. This is a small sample of the many pieces completed. The focus of work in ceramics was on development of high fire glazes. Among this group are blue and green crystal glazed bottles and three ash glazed bowls.
Acrylic - Assemblage painting on two connected canvas panels with attached elements. Early work during masters study. Experimenting with materials, space and asymmetrical balance.
Acrylic - Assemblage painting on canvas with attached elements. Work completed during masters study. Round textured area was constructed by gluing heavy paper cut out shapes to the canvas. Round dot was cut from a toy ball. Experimenting with asymmetrical balance and variations in value. This was completed in the sixties; pop, op, and other trends were influential.
Acrylic - Assemblage painting on canvas. Work completed during masters program. Texture created by gluing heavy paper cut out shapes to the canvas. This project is more symmetrical after working on asymmetrical paintings.
Acrylic on canvas painting. Experimenting with flat color fields and hard edges. Heavily influenced by pop art and other trends of the period. Completed during masters program.
Acrylic on canvas painting of four carousel horses. Completed during masters degree work. Heavily influenced by art trends of the sixties. Carousel has always been the most popular and probably the best work from that period. Masters degree completed 1968.
Acrylic on canvas painting. Experimenting with the picture plane and optical manipulation. Elephant on the front and plants behind the picture plane. Completed during masters study. Heavily influenced by art trends of the sixties.
Two sterling silver rings made with the lost wax casting process. Completed during the masters program.
Sterling silver ring constructed from a lost wax casting and a formed and worked silver sheet soldered in place. Completed during masters program.
Cast sterling silver ring with bezel mounted black star sapphire. Completed during masters work.
Sterling silver necklace with beads. Constructed during masters degree grogram.
Acrylic on canvas painting of four ghosts in a boat. All gray colors. Completed in 1968, soon after completion of masters degree program.
Light box with acrylic panel one of four. Series created for a post graduate design class. Panels created with acrylic plastic colors and solvents. White diffuser panel and lights with switch. Walnut wood frame.
Light box with acrylic panel two of four. Series created for a post graduate design class. Panels created with acrylic plastic colors and solvents. White diffuser panel and lights with switch. Walnut wood frame.
Light box with acrylic panel three of four. Series created for a post graduate design class. Panels created with acrylic plastic colors and solvents. White diffuser panel and lights with switch. Walnut wood frame.
Light box with acrylic panel four of four. Series created for a post graduate design class. Panels created with acrylic plastic colors and solvents. White diffuser panel and lights with switch. Walnut wood frame.
Light boxes with acrylic panel group of four. Series created for a post graduate design class. Panels created with acrylic plastic colors and solvents. White diffuser panel and lights with switch. Walnut wood frame.
Batik dyed cotton cloth pillows, Grannie design. Series developed for a post graduate design class.
Batik dyed cotton cloth pillows, Grannie design. Series developed for a post graduate design class.
Batik dyed cotton cloth pillows, Guys design. Series developed for a post graduate design class.
Batik dyed cotton cloth pillows, Hippies design. Series developed for a post graduate design class.
This assortment of jewelry is a small sample of that produced. These were produced during a four year period, 1974 - 1978, teaching jewelry making at Mohave Community College, Arizona.
Blue agate and sterling silver, constructed ring, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Arizona fire agate and constructed sterling silver ring, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Turquoise agate and constructed copper ring, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Pink agate and constructed sterling silver ring, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Sterling silver ring made with the lost wax casting process, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Green agate and constructed sterling silver ring, produced during a four year period, 1974 - 1978, while teaching jewelry making at Mohave Community College, Arizona.
Visual art, design and craft work by Max Coffey from 1980 to 2005.
Four lathe turned wood bowls.
Table designed and built for Wayne, at Arizona State University.
Film dryer designed and built for the art department at Arizona State University.
Black ink on paper high energy gesture drawing. Unsigned. Completed in 1985.
Black ink on paper high energy gesture drawing. Unsigned. Completed in 1985.
Black ink on paper high energy gesture drawing. Unsigned. Completed in 1985.
Black ink on paper high energy gesture drawing, Tail. Unsigned. Completed in 1986.
Black ink on paper high energy gesture drawing, Turtle. Unsigned. Completed in 1986.
Black ink on paper high energy gesture drawing, Mouse. Unsigned. Completed in 1986.
Photo of high energy gesture drawing, Finch. Black ink on art paper, ~38 x 57cm. Taken with Huawei phone camera 10-02-2020, modified with Pixelmator on Mac computer. Unsigned. Completed in 1986.
Black ink on paper high energy gesture drawing, ToothFairy. Completed in 1986.
Black ink on paper high energy gesture drawing, Salmon 1. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 7. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 6. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 8. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 5. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 3. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 4. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Salmon 2. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 7. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 6. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 4. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 1. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 2. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 3. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 5. Unsigned. Estimated completed in 2000.
Black ink on paper high energy gesture drawing, Splash 8. Unsigned. Estimated completed in 2000.
Ink on paper gesture drawing, Hello. Unsigned. Estimated completed in 2000.
Pastel sketch on paper of live model, 1. Unsigned. Estimated completed in 2000.
Black ink, felt pen, sketch on paper of live model, 2. Unsigned. Estimated completed in 2000.
Designed wine labels for Oregon winery, Champoeg. Two part labels were designed to be more economical than unique label for each individual type and year.
Visual art, computer graphics, design and craft work by Max Coffey, from 2005 to present,
CC09 Logo hawk, black on a white background.
WTFIZAT is a quick random line drawing. The original is in soft pencil on paper. This version is a digital rework of a scan of the drawing.
CC08 MaxKafe Signature Logo Black White
CC08 Combined logo with hawk and MaxKafe signature, black, gray on white background.
CC08 Combined logo with hawk and MaxKafe signature, black, white, with gray background.
CA05 Fractal generated from a paisley design
CT01 Turtle, digital graphic derived from a photo of the original ink drawing.
CC03 Elephant digital graphic developed from a photo of the original painting.
CC03 digital graphic derived from elephant acrylic painting. This version has a transparent background.
CC02 Rooster digital rework of a photo of the original painting.
CC01 Carousel digital rework of a photo of the original painting.
CC04 Ghosts digital rework of a photo of the original painting.
CC04 Ghosts digital graphic derived from a photo of the original painting.
CC10 Graphic design for painting, in grays. The FIB concept started as a minimalist figure in a box. It could be scaled up for architectural applications.
CC10 FIB graphic design for painting, black and white. The FIB concept started as a minimalist figure in a box. It could be scaled up for architectural applications.
CC22 DFG original pencil sketch of minimalist dancing figure.
CC22 DFG digital sketch for a painting, black and white. The DFG concept began as a minimalist dancing figure.
CC22 DFG4 digital line drawing in black and white. The DFG concept began as a minimalist dancing figure.
CC22 DFG4 digital graphic with brown and red colors. The DFG concept began as a minimalist dancing figure.
CC22 DFG6 digital graphic in brown coffee and red colors. The DFG concept began as a minimalist dancing figure.
CC22 DFG8 digital graphic in brown coffee and red colors. The DFG concept began as a minimalist dancing figure.
CC11 ERM graphic design for painting, full spectrum of grays. The ERM concept began as a minimalist concept using empty rooms.
MK12CA01 Original sketch for AMIx graphic design, pencil on graph paper.
MK12CA02 Original sketch for the heart graphic design. Pencil on graph paper. The design is derived from the AMI shape.
CC21 AMI Outline. The first paintings using the AMI shape were completed in 2009. I believe it is an important original shape. It is original and unique.
AMI6v2 Revised Version Outline
KLPR0012 photo of a reflection in a window, version one. This is a reflection that I see almost every day. It is always different. This view can only be seen from a very limited point of reference. I never tire of it. Like a good painting, it is always interesting. The window has at least two panes of glass and there is a dark curtain behind it.
KLPR0013 Photo Reflection
KLPR0021 Photo Reflection
KLPR0348 photo of a reflection in a window. This is a reflection that I see often. It is always different. The window has at least two panes of glass and there is an open stairwell behind it. The photo was taken with a simple digital camera on a bright sunny day.
KLPR0346 photo of a reflection in a window. The window has at least two panes of glass and there is an open stair well behind it.
KLPR0347 photo of a reflection in a window. The window has at least two panes of glass and there is an open stair well behind it.
This graphic is an attempt to represent a vision I remember from a near death experience during surgery.
This, city at night, photo was taken with an iPad and modified with iPad photo filters. The grainy high contrast look is retained by keeping the resolution at 72 ppi. This version is black and white.
AMI Project
The AMI project is sophisticated, conceptually extraordinary and exquisitely executed.
Each painting has its own integrity and intrinsic value; and, contributes to the integrity and value of the group. Together, they are a superb collection: worthy of display in the world's most respected galleries.
They seem to me to have a mysterious subliminal power. Every part of their creation was intuitive. I see them as harbingers of something not yet realized.
Inspiration for the AMI Project.
The AMI shape appeared in my imagination fully formed. I knew immediately that it was important and unique. I worked with it for years. It always fascinated me.
The AMI shape is a perfect asymmetrical biomorphic shape. It has no straight lines and no constant radius curves. It is defined by a single continuous line. It is reminiscent of countless natural objects, lines and shapes; but does not represent any of them. It is unique and original. Rhythmic. Peaceful. Composed. Harmonious. Minimal. Efficient. Accessible. Approachable. Inclusive. Comprehensive. Honest. Coherent. Cogent.
AMI does not have direct ties to any movement but the influences of hard-edge painting and minimalism are self-evident.
Conceptualizing AMI
People who encounter art must be free to wonder, make associations and react. Viewers bring their own unique abilities, emotions and experiences to a meeting with art. Every viewer will have a different experience; and the same viewer may have different experiences on different occasions.
AMI seeks to be a perfect expression of painting as an interesting minimal object. It does not represent, promote or stimulate. Each painting presents itself as a meaningful entity and a precious object.
AMI is a riddle with no solution. Simple and complex. Obvious and mysterious. Beautiful and powerful. Whole and complete.
AMI is a significant contribution in the complicated evolutionary process of conceptualizing and making visual art.
AMI has no top or bottom. It may be displayed with any side up.
Making AMI
After receiving the AMI vision, I sketched it, scaled it up, and refined it by cutting heavy paper patterns. The final shape was used for ten paintings and a number of graphic projects.
The AMI project is a series of eight (2cm x 61cm x 98cm), one (3cm x 75cm x 142cm) and one (3cm x 88cm x 157cm) acrylic on canvas paintings. The canvas is stretched over a plywood panel with integral stretcher bars and carefully folded corners that minimize folds and lines. Signatures on two edges, maintain a clean front surface and make the signature visible when the painting is hanging with any side up. Canvases are mounted on custom flat panel frames with stand-off spacers. Brass hardware is installed to facilitate hanging with any side up. I prefer exposed brass hanging hardware but it may be hidden. Frame, hardware and unique standoff mounting are all part of the original design and should remain intact.
CC21 AMI Outline. This shape first appeared in my sketches in 2008. The first paintings using the AMI shape were completed in 2009. I believe it is an important original shape. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI1 repainted 2024 with red and blue colors and no black line
AMI1 painting 2009. Black and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 1.8 x 75 x 112cm. The frame is painted a high gloss medium gray color (RAL9006). Offset between frame and canvas is 1cm. Overall dimensions are: >4.6 x 75 x 112cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI2 repainted 2024 adding purple background color.
AMI2 painting 2009. Black and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 1.8 x 75 x 112cm. The frame is painted a high gloss medium gray color (RAL9006). Offset between frame and canvas is 1cm. Overall dimensions are: >4.6 x 75 x 112cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI3 repainted 2024 adding red field color.
AMI 3 painting 2009. Black and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 1.8 x 75 x 112cm. The frame is painted a high gloss medium gray color (RAL9006). Offset between frame and canvas is 1cm. Overall dimensions are: >4.6 x 75 x 112cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335). Photo is first version of AMI 3. Version two painted in 2024 has a red background.
I think AMI 4 is profound. It is as near perfection as I can get. It seems to me to be the essence of the AMI concept.
AMI4 repainted 2024 with light green AMI shape and dark green background and no black line. The green colors honor the tradition of CELADON ceramic glazes that originated in China.
AMI4 painting 2009. Black and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 1.8 x 75 x 112cm. The frame is painted a high gloss medium gray color (RAL9006). Offset between frame and canvas is 1cm. Overall dimensions are: >4.6 x 75 x 112cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI5 painting 2009. White acrylic and black graphic tape on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 1.5 x 78.3 x 115cm. The frame is painted a high gloss black color (RAL9005). Offset between frame and canvas is 1cm. Overall dimensions are: >4.3 x 78.3 x 115cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
CC21 AMI6 Version Two outline.
AMI6v3, 2022, painted over AMI6v2, 2019, painted over AMI6 version1 2009. Acrylic and graphic tape on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 2 x 79 x 116cm. The frame is painted a high gloss black color (RAL9005). Offset between frame and canvas is 1cm. Overall dimensions are: >4.8 x 79 x 116cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI7 painting 2015. Gray and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 2 x 79 x 116cm. The frame is painted a high gloss ultra marine blue color (RAL5002). Offset between frame and canvas is 1cm. Overall dimensions are: >4.8 x 79 x 116cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
I like maps so AMI 8 has contour lines. This version was subsequently used to plan three dimensional projects.
AMI8 painting 2017. Dark gray and white acrylic on 1.8 x 61 x 98cm canvas. Frame not shown. Frame dimensions are 2 x 79 x 116cm. The frame is painted a high gloss pearl ruby red color (RAL3032). Offset between frame and canvas is 1cm. Overall dimensions are: >4.8 x 79 x 116cm. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
CC21 AMI8 Coral Turquoise Beige Brown, graphic design
CC21 AMI8 Red Blue Black, graphic design. I love to play with optical art. This is pretty excessive. It hurts to see it on a big screen. I am fascinated by the relationship between certain reds and blues.
CC21 AMI8 Four Brown Coffee Colors plus Red, graphic design, version one.
CC21 AMI9 Outlines graphic design. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
AMI9 (91) painting 2019. Acrylic on 3 x 75 x 142cm canvas. Frame dimensions are 2 x 93 x 160cm. The frame is painted a high gloss moss green color (RAL6005). Offset between canvas and frame is ˜2mm. Overall dimensions are >5.2cm x 93cm x 160cm. Copyright © 2019 by Max Laverne Coffey (Registration Number VAu 1-377-689)
CC21 AMI10 (92) Painting
AMI10 (92) painting 2019. Acrylic and black graphic tape on 3.2 x 87.5 x 157cm canvas. Frame not shown. Frame dimensions are 2.1 x 104 x 173cm. The frame is painted a high gloss purple violet color (RAL4007). Offset between canvas and frame is ˜2mm. Overall dimensions are >5.3 x 104 x173cm. Copyright © 2019 by Max Laverne Coffey (Registration Number VAu 1-377-484)
CC21 AMI9 graphic design with stripes adapted from the stripe pattern MK12L001. This version experiments with visual effects of blue and red.
CC2101 AMI9 graphic design with red stripes adapted from the pattern MK12L00101.
CC2106 AMI9 graphic design with red, blue, black and white stripes similar to the MK12L00106 design. The color order has been changed for the AMI shape.
CC2108 AMI9 graphic design with coral, turquoise. beige and brown stripes from the MK12L00108 design.
CC2111 AMI9 graphic design with gray, gray, black and white stripe pattern adapted from MK12L00111. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
CC2120 AMI9 graphic design with turquoise stripes from the MK12L00120 design.
CC2122 AMI9 graphic design with yellow stripes from the MK12L00122 pattern design.
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This graphic evolved from a project that explored ways to use one object. The project produced several ideas that were used in patterns. This version is black outlines with a transparent background. I enjoy the lines and shapes; and the whimsy always makes me smile. Copyright © 2017 by Max Laverne Coffey (Registration Number VAu 1-306-335)
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with primary colors, red, yellow, blue and black; and over-lapping areas with secondary colors .
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with four grays and leaves some areas transparent. This always reminds me of a crowd of exotic people.
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with four brown coffee colors and leaves some areas transparent.
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with black and leaves some areas transparent.
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with #999999 Gray and leaves some areas transparent.
CC21 AMI17 Line graphic of seventeen AMI shapes in four individual orientations and sixteen different one to one relationships. This version fills some areas with #6B1C36 Red and leaves some areas transparent.
Number two of ten boteh designs derived from AMI. To see more boteh designs visit the Boteh gallery in Graphics.
Number ten of ten boteh designs derived from AMI. To see more boteh designs visit the Boteh gallery in Grapics.
This work by MaxKafe is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.