Born in Mortlake, London, 1958. A printmaker working in a small village in Kent and on the North Norfolk coast.
Max Angus is an elected member of The Society of Wildlife Artists (SWLA). The SWLA is one of the art societies represented by the Federation of British Artists (FBA), The Mall Galleries, London.
Max Angus linocuts have been exhibited at The Society of Wildlife Artists (SWLA) annual exhibition, ‘The Natural Eye’ and also as part of ‘The Discerning Eye Exhibition’ at the Mall Galleries in London.
At the SWLA’s annual exhibition Max Angus has received the following awards:
The St Cuthbert’s Paper Mill Award
The Birds Illustrated Magazine Printmaking Award
The Dry Red Press Award
The artwork can also be seen in friendly independent galleries from Kent to Norfolk listed on the Gallery Page.
Max Angus and the linocuts have also been featured within various magazines including Artist & Illustrator, Kent Life, BBC Wildlife and The Birdwatch magazine.
The linocut images have also been published as greeting cards by The RSPB, Art Angel Publishers, Orwell Press, and The Dry Red Press.
Some linocuts and a few images of the studio have been included within the Mascot Media publications:
The Artful Hare
The Illustrated Garden
Wings over water
The Society of Wildlife Artists’ publication ‘The Art Book One’
BTO's publication 'Red sixty seven'
There are more details of the images included in the books on the Publication Page.
Over the last few years, I have been concentrating on multi block linocuts created using an Albion Press nicknamed 'Hettie'. Hettie, The Albion press was made by Henry Watts, 1859, Southwark.
‘My work is often inspired by the everyday environment around me. I maintain a sketchbook with copious amounts of scrap paper. The limited detail captured with a pencil is just enough for the outlines for the linocuts. In my studio, the sketches are put together to create a composition that I feel represents the movement of the subject, the weather or what I can remember of that time.
The master lino block is cut and printed to create a black and white image. The other blocks are cut first considering light, shade and the overlapping of colours to make additional colour combinations. Trying to keep to a limited palette takes weeks of trial and error. Each colour chosen is dependent on the relationship and quantity of the adjacent colours and the overlapping blocks.’
Max Angus SWLA