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Max de Esteban  Barcelona, Spain


* All images used with permission. Please do not distribute without first contacting the artist.


About Max de


Max de Estaban was born in Barcelona, Spain. He holds an MA from Stanford University PhD from Ramon Llull University.

His Proposition One series consists of X-ray images of obsolete technology whose purpose relates to producing or communicating art. Its subjects are intended to be generic symbols of decay and death or forensic testimonies.

De Estaban is concerned about the consequences of today’s accelerated embrace of digital technology and formats in the art, and the political implications of technical and functional obsolescence—a conflict within our concept of progress.

Some vestiges of inner structures are easily identifiable while others have faded or disappeared, as in organic decomposition, he says. And while these tools were not long ago considered sophisticated and ‘state-of-the-art,’ today they carry the stigmas of fragility, archaism and trauma.

De Estaban has lived in Palo Alto, New York, Madrid and London, working on numerous commercial projects. Upon returning to Barcelona 2009 he began to focus again on the creative aspect of his photography practice, and has worked exclusively on personal projects ever since.


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Max de appears in the following Top 10 lists


'2011' edition

'Spain' edition


5 reactions displayed


Most wonderful and inspiring photos I have seen for a while. Looking forward to seeing more. Really insightful project.

How pretentious.

vERY cOOL!

I miss the pre-digital era, yes, the mechanical one allowed us some control, repairs were sometimes a pleasant game, instinct was your right-hand helper.
Esteban brings back memories of the toys. Photos were starving for pixels, definition, etc.. but they felt good, cosy and often surprising. I still love them more... but then I miss the pixels after a few close-ups. Also we seem to have less time to handle the toy part of our hobbies.

So inspiring. Reminds us of how mechanical things used to be, in a world before the digitalization of everything, how our technology operated truly and faithfully for the purpose for which it was intended. These pieces recall the simplicity of complexity of an age where technology, too, was art.

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