New technologies constantly reshape the way artists work, and Stevens responds to this in his own terms. By returning to his earlier paintings, he builds a new way of looking at them. Through digital transformation, he crafts his artistic direction. He develops a new visual grammar in respect to what is considered to be an abstract and a figurative picture, experimenting with colours, compositions, and the interplay between media.  Stevens does not remove details, but replaces them with new patterns. Something suggestive and open-ended. The artworks in the Last Days of Summer Prints series, thus, walk the line between traditional and digital, between what seems real and what seems imagined, between closeness and distance. In doing so, they question what representation can mean, stretching the limits of what a print can be.

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This critical essay has been contributed to the exhibition catalogue on the occasion of the solo show “Maxwell Stevens, Last Days of Summer Prints” sponsored by Artsper and Monat Gallery, Madrid Spain.

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Martina Lattuca is an Italian curator and writer based in Brussels. Her work moves across research, writing, and curating, with a strong interest on the intersections of space, body, and identity, examining how social structures shape lived experience. She has worked with institutions such as CIVA and La Loge in Brussels, and contributed to exhibitions including Grains of Sand Like Mountains at Kunsthal Gent and MAP #158 at KASK & Conservatorium in Ghent. Her writing has appeared in platforms such as ArtLead and Bebe Magazine, where she has explored topics ranging from public art to cultural narratives and regional identity. She is currently part of Yard44, a cultural association in Sicily, where she supports the organisation of exhibitions, events, and artistic programming. She is also collaborating with a group of curators to create a project in Brussels around art walks and artistic-based spaces.

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