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Max Lehman

@maxdna

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The new show from artist MAX LEHMAN: ANCESTRAL ANDROIDS is a different kind of world-building. The idea that an android has ancestors suggests that it has inherited more than technology — it implies history, myths, traditions, forgotten generations, and artifacts left behind by those who came before.  “I imagine these sculptures as discoveries from that distant future,” Lehman says.  “They are not futuristic prototypes but ancient objects. Their function has been forgotten. Their makers are gone. Time has worn away certainty, leaving only fragments from which stories can be reconstructed. They exist somewhere between relic and machine, artifact and fossil. Like objects recovered from an archaeological excavation, they invite speculation rather than explanation.” MAX LEHMAN (@maxdna): ANCESTRAL ANDROIDS on view through November 1st, 2026.  Experience all the work in the gallery or on our website (link in bio) taken in Hecho a Mano by @maxdna
8
3 days ago
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The Aubergine Oracle From Caracole: Before & after. Meet her in person in Max Lehmans solo exhibition Ancestral Androids on view through November 1. The Aubergine Oracle From Caracole exists in the threshold between past and future, a mysterious guardian of time who perceives both timelines simultaneously. Her vision reaches across distant ages, revealing forgotten histories and futures yet to unfold. To her, time is not a straight line but an intricate web of interconnected events, repetitions, and consequences. She recognizes the subtle patterns that emerge when time shifts, bends, or fractures. Sensing the convergence of divergent timelines and the echoes of repeating events, she can anticipate when the natural order of time is about to unravel. Accompanied by enigmatic guardians, the Oracle is protected from temporal loops, endless cycles in which moments repeat and histories become trapped. Her guardians shield her from these distortions, allowing her to navigate the shifting currents of the time stream without becoming ensnared within them. The Oracle also draws energy from time itself, harvesting the echoes of the past and the potential of futures yet to come. She transforms these temporal currents into a mysterious force that sustains her power and strengthens her connection to the ever-changing flow of existence. Neither wholly belonging to the past nor bound to the future, the Aubergine Oracle stands as a witness to the endless spirals of time, where memory and prophecy intertwine, and every moment carries the potential to reshape what comes next. taken in Hecho a Mano by @maxdna
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5 days ago
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A wonderful whacky retro style pumpkin from @eightmilliongods added to our Halloween collection. You gotta visit this unique gallery of curiosities in Truchas NM. #newmexicotrue #halloween #retrohalloween taken in Nambe, New Mexico by @maxdna
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7 days ago
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The Dutchess of Digital Data is from Max Lehman’s Ancestral Androids, a show about what artificial beings leave behind. Gibson’s Neuromancer and Gary Numan’s Replicas are touchstones for the series. Working in clay in the age of artificial intelligence, Lehman says “there is still no machine that can throw a ceramic vessel with the intuition, hesitation, and accumulated experience of human hands.” Clay keeps evidence of the maker in ways that can’t be simulated as Max does a little “circuit bending” and subverting expectations of what a material can explore. On view now. taken in Hecho a Mano by @maxdna
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8 days ago
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Max Lehman’s “The Hope for Environmental Renewal” is a small skeleton with happy daisies growing out of its head, which makes it a bit of an outlier in Ancestral Androids, though it shares the show’s premise that clay outlasts the civilizations that made it. Lehman imagines his sculptures as discoveries from a distant future, objects “between relic and machine, artifact and fossil,” whose makers are gone and whose stories we get to finish ourselves. Daisies seem like a reasonable guess about what comes next. Image: Max Lehman, The Hope for Environmental Renewal, 2026, ceramic with acrylic and metallic paint, 15 x 8 x 8 in taken in Hecho a Mano by @maxdna
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11 days ago
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Some cheeky little Elvis Birds have landed at Hecho a Mano Gallery, don’t let them fly away. #ceramics #ceramicart #birds #sculpture taken in Hecho a Mano by @maxdna
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13 days ago
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Pre-opening cocktails at Secreto. #artopening #santafebar #cocktails taken in Secreto Lounge by @maxdna
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17 days ago
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Went up to Santa Cruz Lake yesterday to see what the water level was like and it was surprisingly full compared to last week. This morning in the Badlands the catch ponds are all full. #hurricane #rain #droughtrelief #doghike taken in Nambe, New Mexico by @maxdna
2
17 days ago
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Tonight’s the night, please join us at Hecho a Mano. Two outstanding exhibitions. Opening tonight 5 to 7 pm. @hechoamanoorg @thaismather #ceramics #santafeart #santafeartist taken in Hecho a Mano by @maxdna
15
17 days ago
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This Saturday, join us for an artist talk with @maxdna ! Free donuts and coffee will be served as usual and @johnfrancis_poorclares will serenade us. Music starts at noon, talk at 12:30! by @maxdna
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20 days ago
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“The desire to create artificial life has existed for as long as we have imagined the future,” says contemporary ceramic sculptor Max Lehman. “From the earliest works of science fiction to today’s rapid advances in artificial intelligence, robots and androids have served as reflections of our hopes, fears, and our enduring curiosity about what it means to be human.” In his upcoming show at Hecho a Mano, Lehman delves into the nuances of artificial life and its legacy. While a robot is a machine engineered to perform specific tasks, he says, “an android is something more ambiguous—a being designed in our own image.” It may be mechanical, biological, or a synthesis of both. It occupies the uncertain space between object and organism, between tool and companion, between invention and life. Artificial intelligence brings questions once reserved for science fiction into everyday conversation — we now ask whether machines can create, whether they can think, and whether they might one day become conscious. “Artists understandably worry about AI appropriating their ideas,” Lehman says. “My own work, however, remains deeply rooted in the physical act of making — there is still no machine that can throw a ceramic vessel with the intuition, hesitation, and accumulated experience of human hands. Clay continues to preserve evidence of the maker in ways that cannot be simulated.” Opening Friday, October 2, 5-7pm and on view through November 2. by @maxdna
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a month ago
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This is a truly unique opportunity. Dawn in the House of Knives has come up for auction on the secondary market. This piece is nearly five feet tall, low fired earthenware. Built in 2014 the sculpture is based on the legend of the warrior twins from the Mayan legends in the Popul Vuh. The piece comes apart in appropriately 13 pieces. Right now the bidding is approximately at $300.00, I estimate the value at $12,000 the sculpture can be found on the live auctioneers website. https://www.liveauctioneers.com/item/240313889_max-lehman-dawn-in-the-house-of-knives-c-2014-scottsdale-az/?utm_source=EstateSales.NET&utm_medium=referral&utm_campaign=ATGXlink_ESNLA A chance like this doesn’t come along too often. #ceramics #sculpture #ceramic #auctions #art taken in Nambe, New Mexico by @maxdna
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a month ago
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