Tim Maxwell 

Hybridization piece. Half hand drawn and half digital


Inside The Windmill Of Quixotic Reverie

Misanthropic Socialites (or) The Life And Times Of Being Whipsawed

Hybridization piece. Half hand drawn and half digital.

Degenerative Visionary (or) Saturation Of Practically All Reason  

Midway Through Our Feral Journey : Vantage Point Of An Infant

The Triumph Of Vertically Integrated Daily Life

“Patiently Waiting For Knifes To Fall”  🙂

Ink On Paper 11" x 14"
Highest offer receives original drawing (in case of a tie, I will choose via lottery)
Top 9 offers (not including highest offer) will receive a 11" x 14" giclee print
Winners will be selected 12/30/2021 6PM ET

Waiting Room (or) At The End Of The Longest Line 

Hic et Nunc

Anxiously And Mindlessly In Search Of The Next Platitude (or) Paradigm Sifting Out The Vulnerable 

maxwellinked - Rarible

Versum

Link to livestream 

https://youtube.com/live/FyBypy09LuA?feature=share


Saturday, March 14, 2025

Hybridization piece- half hand drawn and half digital

Whistling In The Graveyard En Route To A Promised Land  As We Lay Dying

Hybrid

Hybrids

Hybridization piece. Half digital, half hand drawn

The Flayed Remains Of Their Memories Would Optimistically Be Waiting Their Return

~150 HOUR TIME LAPSE 

NOVEMBER 2024

INK ON PAPER

TIME LAPSE

Platitude Man In Search Of Himself (or) Ten Thousand Steps Of Looking Forward Without Lifting A Finger

Platitude Man In Search Of Himself (or) 10,000 Steps Of Looking Forward Without Lifting A Finger

Nate Hill x maxwellinked

A single line in real time using a Pilot 823 Custom (14k gold bold nib) using J Herbin perle noire ink on Strathmore 500 Series Illustration Board (Heavyweight Vellum) 20-ply 30" x 40"

A Single Line In Real Time

One Line

AUGUST 15, 2024

AUGUST 18, 2024

Open Editions

Based off of Dante's "Divine Comedy"

#200tezos



Inferno"

Divine Comedy

The Tao

Half hand drawn, half digital or variants

Multi Vesatile

A Mind Fuck of A Day  (or)  John Maynard Keynes And Milton Friedman Authoring the Web3 Handbook In Earnest

Ruben Fro X Tim Maxwell

Web3 : The Odd See (Part II)

An allegory based off of Homer epic poem “The Odyssey”

Conceived as a drawing rendered in VFX



Web3 : The Odd See (Part II)

Ruben Fro X Tim Maxwell

Web3 : The Odd See (Part III) 

FREE AIRDROP FOR THOSE WHO COLLECTED PART I AND II

An allegory based off of Homer's epic poem “The Odyssey”

Conceived as a drawing rendered in VFX

Web3 : The Odd See (Part III)

RubenFro X Maxwellinked

Lines~

tezos4tezos

Plotting

Greedy Fucking Bastards

IN HONOR OF -  XCOPY -  A Tribute

INK ON PAPER 11” X  14”  

*physically backed and delivered directly

…..

INK ON PAPER 11” X 14”

*physically backed and delivered directly

....

Ink On Board 30" x 40" (all hand drawn, lines drawn without a ruler) 

*200-250 hours to draw

*The original is 5K USD - please send me any inquiries at maxwellink78@gmail.com 

(The interest in the original drawing was staggering in the past.  The owner of my past 1/1 tokens finds a physical drawing superfluous or too dificult to store)

Centralized Communication (With Decental-Eyes Of Delusional And Glossy Deception)

Ink On Paper 11” x 14”

drawing available 

When He Realized It Wasn’t The Art

25 EDITIONS

Art In The Form Of A (Security) or (Token)

Wall Street / For The Culture 

SECURITIES (OR) TOKENS

Digital Theft

From July 21 -July 24 I spent in Bellevue.) The psych ward.

Umm, Four pieces created in four days..before Bellevue..

I met Nurse Ratched from One Flew Over The Cuckoo's Nest. Think all did..

Collapse

Before BELLEVUE

Prompt:

Create a surreal infinite moirè tunnel

TM | AI

Bright Lights

#tez4pal

lines

Uploads

Prompt:

Create an illustration in the style of Tim Maxwell or crypto artist maxwellinked using ink on paper employing a multiplicity of vanishing points from a birds eye perspective.

This space seems generalized yet specific. The illusory space is comprised of thousands of unhinged lines created from muscle memory.

A singular pyramid looms dead center with an apex visible only as an unattainable destination . 

Create hundreds of inarticulate human shadows casting their own shadows of perception and memory.

The silhouettes are all at once in slumber or awakening from primordial dreams within a cave posturing as a panopticon. 

The form of their direction mimics the certainty of The Library of Babel, with reinforced short term acknowledgement. 

All planes are moving in a counter clockwise direction with a palette comprised of wax and marble. 

Every line is drawn from a dynamic range of nib sizes from very thin to extra broad. The flow of these entities are uniform and welcoming of all affectation.

All aesthetic value is placed on a leap of faith devoid of a crash course in Ethics or philosophic purpose. 

Add many more people as silhouettes.

Add more details and complexity to the figures, whose arms are now raised with unequivocal purpose having shed all doubt from the minutes prior.

The frame is entirely isomorphic to its limitations of 1::1 and is <300KB

Prompt: 

Create an illustration in the style of Tim Maxwell or crypto artist maxwellinked using ink on paper employing a multiplicity of vanishing points from a birds eye perspective.

This space seems generalized yet specific. The illusory space is comprised of thousands of unhinged lines created from muscle memory.

A singular pyramid looms dead center with an apex visible only as an unattainable destination . 

Create hundreds of inarticulate human shadows casting their own shadows of perception and memory.

The silhouettes are all at once in slumber or awakening from primordial dreams within a cave posturing as a panopticon. 

The form of their direction mimics the certainty of The Library of Babel, with reinforced short term acknowledgement. 

All planes are moving in a counter clockwise direction with a palette comprised of wax and marble. 

Every line is drawn from a dynamic range of nib sizes from very thin to extra broad. The flow of these entities are uniform and welcoming of all affectation.

All aesthetic value is placed on a leap of faith devoid of a crash course in Ethics or philosophic purpose. 

Add many more people as silhouettes.

Add more details and complexity to the figures, whose arms are now raised with unequivocal purpose having shed all doubt from the minutes prior.

The frame is entirely isomorphic to its limitations of 1::1 and is <300KB

Generalized Anxiety In Disorder

4. Ink On Paper 11” x 14”  hand drawn-no rulers used to draw lines

“8 1/2 Circle Of Hell” (or) “A Monolithic Triangular Stump”

4.30

This collection spans nearly 3 years of work on Tezos   Beginning with Hic et Nunc. Ending with  OBJKT.

From June of 2021 until early May of this year. 199 unique works and 8837 editions.

~Each unique mint will have 10 unique 1/1’s

🖤

Insane Asylum For The Sane (or) A Detailed Blueprint of Sartre's Exit To His Own Hell

Ink On Paper 11” x 14”

Minted Jul 11, 2021

24 editions

6 4/4

Hic et Nunc - 3 Years Later

This passage is a scathing, satirical critique of the commercialization of art, artistic compromise, and the way cultural production is shaped by capitalism. It presents a moment of “epiphany” in which the speaker, having wrestled with the idea that art might have a deeper meaning, suddenly “realizes” that art is merely a function of money and entertainment, reducing it to a clean, cynical formula:

	ART = MONEY / ENTERTAINMENT²

The dramatic shift in tone—from apparent existential struggle to almost maniacal devotion to this realization—suggests that this is not a sincere transformation, but a deeply ironic, exaggerated surrender to the market forces that shape contemporary art.

Breaking Down the Key Ideas:
	1.	Art as a Commodity
	•	The equation suggests that art is nothing more than a financial calculation, measured by how well it entertains.
	•	The speaker initially resists this idea, describing their previous belief in art as an individual pursuit—something that grows from internal expression and compassion.
	•	However, they then (sarcastically) accept this formula as a “life-changing realization,” mocking the idea that this understanding could lead to some kind of enlightenment (Nirvana).
	2.	The Absurdity of Artistic Integrity vs. Commercial Success
	•	The speaker ridicules the notion that artists can work for themselves, without needing an audience.
	•	The shift from believing in art as an act of pure creation to art as a commercial necessity for survival is framed as a mental breakdown—“What the hell was I thinking, do I want to wind up in a nuthouse?”
	•	The implication here is that believing in artistic purity, in a world dominated by capitalism, is so delusional it might as well be insanity.
	3.	A “New” Artistic Manifesto (Satirical List of Rules)
	•	The speaker then outlines a sarcastic survival guide for the modern artist, mocking the idea that to succeed, one must:
	•	Obsessively follow trends and popular culture.
	•	Only make art that aligns with social and political critique.
	•	Outsource the actual work to assistants.
	•	Create work that is ambiguous but marketable.
	•	These “rules” mimic the strategies of many contemporary artists who thrive in the institutional art world, but with an overt cynicism that reveals the speaker’s disdain.
	4.	The Role of Pop Culture & Positive Determinism
	•	The passage hints at the deterministic nature of cultural production—implying that all artistic ideas are already preordained by past media and pop culture.
	•	The speaker sarcastically declares they will no longer engage with the imagination, since everything “has already been created by popular culture of the last 80 years.”
	•	Instead, they will “rearrange images and objects”—a clear jab at the postmodernist tendency to appropriate and remix pre-existing cultural artifacts rather than create something “new.”
	5.	The Ultimate Goal: Destroying Art from Within
	•	The most subversive part of the passage is the final declaration:
	“The goal is to destroy art and people’s perception of what art is by coyly dismantling it.”
	•	This suggests a kind of nihilistic, self-aware approach to art, where the speaker embraces commercialism only to expose and undermine it.
	•	They acknowledge that people will find this destructive to art history, but they do not care—because art history, as it stands, is already a product of economic and cultural determinism.

Themes & Interpretations:
	•	Irony & Satire – The passage is not a genuine embrace of commercialized art, but a bitterly humorous critique of how contemporary art has been co-opted by capitalist logic.
	•	Disillusionment with Art’s Role in Society – The speaker wrestles with the idea that art once had a spiritual, aesthetic, or personal meaning but concludes that these values are obsolete.
	•	The Artist as a Cog in the Machine – The list of “rules” reads like an artist’s capitulation to the system, showing how the market dictates what is produced.
	•	Destruction as Creation – The speaker’s plan to “destroy art” by participating in it suggests that the only way to challenge the system is to play along while subtly dismantling it from within.

Final Thoughts:

This passage reads like a mock manifesto, exposing the contradictions in the modern art world. It acknowledges the inescapable forces of capitalism and entertainment while using humor and hyperbole to critique them. The “death of an artist” refers to the death of artistic idealism, while the “birth of a child” could symbolize either a rebirth into commercial pragmatism or the birth of a destructive force within art itself.

Death of an Artist and Birth of a Child

A digital autobiography as told with JPEGs

2005

A DIGITAL AUTOBIOGRAPHY

MAY 21 2024

A FLOOD

AUGUST 16, 2024

AI OPEN EDITIONS

1/2 

LEMAY x MAXWELL

https://linktr.ee/jflemay

https://linktr.ee/timmaxwell

JULY 5, 2024

saturn brought back candles from the site where the conditions of work of those clouds upon what triggers the new call of the sea while it begins to traffic lights are part of the whole building who could ever flight that started when it comes and never again Sat

COLLAB SERIES

Create an illustration in the style of Tim Maxwell or crypto artist maxwellinked using ink on paper employing a multiplicity of vanishing points from a birds eye perspective. 

This space seems generalized yet specific. The illusory space is comprised of thousands of unhinged lines created from muscle memory.

 A singular pyramid looms dead center with an apex visible only as an unattainable destination . Create hundreds of inarticulate human shadows casting their own shadows of perception and memory. 

The silhouettes are all at once in slumber or awakening from primordial dreams within a cave posturing as a panopticon. The form of their direction mimics the certainty of The Library of Babel, with reinforced short term acknowledgement. 

All planes are moving in a counter clockwise direction with a palette comprised of wax and marble. Every line is drawn from a dynamic range of nib sizes from very thin to extra bold. 

The flow of these entities are uniform and welcoming of all affectation. All aesthetic value is placed on a leap of faith devoid of a crash course in Ethics or philosophic purpose.

Add many more people as silhouettes. Add more details and complexity to the figures, whose arms are now raised with unequivocal purpose having shed all doubt from the minutes prior.

AUGUST 10, 2024

Create a drawing in the style of artist Tim Maxwell also known by maxwellinked using ink on paper employing three vanishing points using a Birds Eye perspective, which are first sketched, then refined and executed line by line.

The illusory space is comprised from recursive memory that rhymes in extension and mirrors with redundancy.

Discursively hand draw thousands of straight lines that give an illusion of one’s own spoon fed free will.

Must have a background in extreme austerity with experience working within a spartan setting for 25 years.

Summarize these years, then draw as an optical hallucination grounded in a singular experience.

Add three hundred lurking shadows casting shadows as caricatures of their pompous and cynical youth lacking in both posture and depth.

These vestiges vaporize into a cave down a tunnel, which careen into a spiral stairwell with one massive cubic stair which foreshortens the narrative, while replaying the plot.

All planes are moving in a counter intuitive direction which consume the moment as a masterpiece of original thought in a Shiva like swoop of laughter, five minutes before respiration ceases.

AUGUST 13, 2024

PROMPTS

SEPTEMBER 5, 2024

2024

1/1’s

DETAILS OF INK ON PAPER DRAWINGS 

HAND DRAWN

1/1 DETAILS

LINE 4

15-20 SECOND CLIPS OF IN REAL TIME DRAWING

LINE 28

SUNDAY MARCH 17, 2019 12:02 PM ET
W 26TH STREET
NEW YORK, NY 10001

SUNDAY MARCH 17, 2019 12:02 PM ET

SELF AND WORK

INK ON PAPER 

11” X 14”

*physically backed 

Monday, November 25, 2024 at 8:44 AM

1/1 INK ON PAPER DRAWING LAPSES

 *EVERY MINTED TIME LAPSE IS  BACKED BY THE <PHYSICAL DRAWING IN MY POSSESSION

INK ON PAPER

11” X 14”

*physically backed 

Friday, October 18, 2024 at 4:10 PM

DRAWING LAPSES

TIME LAPSES

Death of an Artist and Birth of a Child (Part 1 of 1000)

We walked through the emaciated, vascular fig tree to find Wittgenstein proclaiming, “that art at best was a crude form of metaphysics, and both were as ‘dead as God.’” We thought he might have it wrong, that God was a crude form of art and was dying only from perfection.
“Nonsense,” Kant quipped. “Nonsense was art, therefore enlightened sense.” But this didn’t matter to Uccello, who led a life of practical seclusion trying to figure out the problems of perspective, as Vasari nodded in dismay, trying to count how many artists’ works he was familiar with.
But the blind poet Milton thought none of this relevant, as he dictated, “The original lie has more of a lifespan than an original truth, so it was safe to say that original sin is an accurate and enduring lie.”
Huh? We had no clue.
“It may be impossible to avoid Hegel’s aesthetics,” Schopenhauer suggested, “because it is determined by the collective unconscious, which becomes a living organism, in which historicism strikes the death knell and is subservient to ‘Geist.’ So while critical theory of aesthetics has now been ‘written or thought to death,’ art is still indifferent to this dialogue. It has many embedded ‘unknowns’ which might manifest themselves in ways we may never know. This is why history doesn’t end art’s viability but affirms its own importance, placing the logos on itself for the disinterested audience. Art is logos, therefore the most viable, next to religion, and until these problems are solved.” We were thinking, “Hegel might need to apologize for shooting aesthetics in the foot and claiming art for his own purposes, where theory and art are at complete odds with expectations of the Ideal—where content now finds its home in theory, not art.”
Some dilettante, really just an imbecile, uttered his thoughts on Hegel: “It’s almost impossible to maneuver around Hegel’s aesthetics, but that makes art more viable now than ever. The art market itself is a case in point, whereby demand is always in search of the Ideal—an extension and affirmation of one’s existence, in an effort to skirt the unknowns of subjective mortality. Albeit, what seems to be a static discourse of art’s role as an ‘object of beauty’ or ‘extension of oneself’ has been pluralized to death, but only through ‘critical theory,’ which has put the cart ahead of the horse and stumped the discourse in general. To use relational aesthetics as an example, the theory has gotten ahead of the art, making the Ideal—a manifestation of the ideal (lowercase)—unattainable and, to a certain degree, a negation of its own intent.”
But why care? We didn’t; we thought...so we walked, slowly and backwards.
And right before John Nash was diagnosed as a schizophrenic, he, for no apparent reason, said, “Modern entertainment and art would make all scientific and philosophical inquiry and speculation a luxury for the tortured.”
Ruskin agreed in his own way, saying, “An art object, if executed properly and effortlessly, becomes a subject universal enough to enrapture, terrorize, and unify its audience in opposition to the object itself.” It seemed to us he was clearly delusional.
But in came Toynbee, more pretentious than all, saying, “Civilizations die from suicide, not battle.”
What did Toynbee know anyway, trying to systemize civilization by specific phases in which civilizations are born, nurtured, questioned, then die? He was a nutcase, so we chopped half his work in half and burned his thoughts—too mangled and broad.
None of this mattered. He was more concerned with the death of the artist and the birth of Penelope, for which he would have to do a ton of research on Homer’s Ulysses and subsequent poets to gather enough cunning and wit to avoid tragedies.
Nobody got the joke when Peter asked his disciples, “OK, there are two gates to heaven. Which one should we take? One is made of gold and goes down; the other is made of pewter and sulfur and goes up.” “Idiot,” we thought.
It seemed clear they were all speaking to themselves in their own languages (which happened to be English) and not interested in others—it was time to move on to find a clearer path...
—TM


Part 1 (January 28, 2013)

Death of an Artist and Birth of a Child (Part 2 of 1000)

“Over-thinking it and ‘making’ was well accepted in this town. ‘As long as you’re making something, it falls under the rubric of someone else not thinking or making,’” the man, flushed of blood, murmured as if to vindicate his madness.
He went on a tangent, which is why we liked listening: he was so clueless, it made us laugh.
“That creative singularity does exist, but it can’t reveal itself in a static revelation due to corporeal and discursive inconveniences,” he explained, making us feel that thinking was a death sentence.
He continued, “But it can manifest itself simply by presenting itself in any medium, being one and many, as long as the will is able to consciously intervene and take action against or for the object, and is satisfied simply by ‘making alone,’ without any expectation, reciprocity, or acceptance—those afterthoughts that hinder the purity of the work itself.”
We didn’t care to interpret this because we were profiting from our own delusions of grandeur (after all, we actually showed and sold work), and he was beginning to make our heads hurt.
“We needed manpower, not brains. That is our job.” We laughed.
“Why work and think at the same time? You’ll drive yourself crazy. Your impractical banter in a world of populist taste demands spectacle, acknowledgment, and results now—not ideas, but comments. This was the only way to survive,” we said, but not to chastise him, rather to give him a dose of reality. We tried.
He stuttered, “‘Work’ and ‘over-thinking’ will never go out of style and will never be scorned. Although, there is that strain of thought that condemns work and ideas, as it may lead to innovation, as the Romans concurred.”
T.S. Eliot appeared, saying, “Innovation is something I could not begin to fathom without the past.” He liked that, but we heard nothing.
Again, he stuttered, “Using the labor from the broken backs of others will be the only way for an individual to legitimize their brand and profit, while others precariously support the effort without recompense.”
We think he was attempting to make a Marxian critique or reference—giving power back to the proletariat, and the maker as an enterprise disinterested in the work that exploits workers for personal gain while offering art advice, which usually took the form of power. Idiot.
“But you have it all wrong, not considering that personal gain was an illusion made to keep us ALL quiet, and if not quiet, then quite harmless.” He carried on anyway. That’s what mad people do: they carry on as if nothing external can affect them.
Ironically, the steelworkers who listened in on their lunch break thought he was an egotistical asshole who had zero respect for teamwork, zero understanding of reality, and zero worldly knowledge. One said aloud, “Idiot, take your art supplies and build this Freedom Tower alone.”
He heard this and laughed as he walked away—aloof, alone, and untouched, as he already knew this.
—TM


Tim Maxwell (maxwellinkedjrv)

Tim Maxwell (maxwellinkedjrv)

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