Maxim Burnett: The Artist Who Quite Literally Stood Out at the London Art Fair

This year’s London Art Fair saw a notable shift towards smaller-scale works and prints, reflecting a cautious approach amid an evolving art market. However, one artist who took a different direction—both in scale and ambition—was London-based artist Maxim Burnett. Presented by BWG Gallery (Brushes with Greatness), Burnett’s gold framed 9ft paintings towered above the fair’s typical display heights, drawing significant attention from visitors and critics alike. Burnett’s decision to showcase such large-scale works stems from a deeply personal journey. Diagnosed with aggressive Stage 2 B-cell Non-Hodgkin’s Lymphoma in 2021, he continued to create art throughout his chemotherapy treatment, using the experience as a catalyst to approach his practice with renewed purpose.

Described by Vogue Turkey as “one of the most impressive examples of modern figurative art”, Burnett’s oil paintings draw inspiration from the Baroque, Constructivism, Romanticism, and Muralism movements to ‘mythologise’ themes and industries from the 21st century. “My illness and physical decline made me uncomfortably aware that everything is slipping away. My practice became a pursuit of immortalising the times that we live in.” It was this moment that solidified his approach to making with the confidence he is known for today. “I create my works to act as memorials of our current society, so future generations can better appreciate this era of humanity and our relationship with the natural world”, Burnett shares.

The paintings in his triptych Industry Incarnate each feature an aforementioned deific figure, individually reflecting both the holiness and horror of modern industries: an introspective Venus sits within a tempest of sculptural waves and stormy elements, cradling a glowing flame against her bosom, a tyrannical rider sits astride a colossal bull gazing over a scorched horizon, and a shimmering mass of tormented, geometric fish are hauled from luminous seas below a dark and steely, cyborgian mariner. Perhaps if viewers 1000 years in the future were confronted with Burnett’s paintings, they would sense a tale of industrial worship and subservience – or that we were ruled by fishermen and planets.

Industry Incarnate’s size and quality of materials reflect the gravity of Burnett’s themes. The paintings are “enshrined” in hand crafted gold frames of his own making, evoking the tradition of gilt framing’s association with religious iconography. Burnett achieves his vivid spectacles with his distinct mark making, hand-made brushes, and with paints he mills by hand. Rich and textured cobalt, vermillion, and cadmium radiate with an internal glow.

BWG Gallery’s stand at LAF received significant acclaim, perhaps suggesting that going bigger might be a smarter move for galleries desiring strong exposure in next year’s run. Gallery Director and Curator Jack Trodd stated: ‘We always want to captivate an audience in any exhibition we present, subverting commercial preconceptions and inviting viewers to truly lose themselves in the art, and choosing to exhibit Burnett’s work was pivotal in ensuring we invoke this reaction.’. And stand out they did, as the works literally stood higher than the walls available at the fair.

While large-scale works incur challenges in the UK where domestic spaces may limit their display, Burnett’s practice has found a wide audience internationally. Collectors from the US, Mexico, Eastern Europe, and the Middle East have responded with immense positivity, resonating with the far reaching cultural and historical themes in his painting. 

As the art market continues to evolve in an unpredictable manner, galleries are exploring increasingly creative strategies to capture attention. BWG’s approach at London Art Fair reflects the value of ambitious presentations in an industry that is increasingly competitive and unpredictable. With Maxim Burnett’s monumental works making a lasting impression, his presence at future international fairs is eagerly anticipated.

About MAXIM BURNETT:

Maxim Burnett (b. UK) is a self-taught artist who recently completed an MA in Fine Art at City & Guilds, London. His works have been exhibited as part of Aubergine Art Gallery’s Young Contemporaries (2019), BWG Gallery’s group exhibition Apocalyptic Changes of State (2024), Independent Curator Juliet Wilson’s group exhibition Cheers to the Echo, and Cynthia Corbett Gallery’s Young Master’s Art Prize exhibition (2025). Burnett held his first solo presentation of his Triptych Industry Incarnate at London Art Fair 2025 with BWG Gallery. He was shortlisted for the Summer Exhibition at the Royal Academy and Victoria Gallery open call (2022). He has been published in MU Magazine (2022), and his works belong in The Moore Collection and The Hempleman-Adams Collection.

©2025 Maxim Burnett

James Marshall

James Marshall is a Scottish writer, curator and videographer/content creator based in London. James takes interest in art and artists which question or threaten institutional frameworks, looking forward to the future of reframing. In addition to writing, James regularly creates video content and artist interviews, providing firsthand glimpses into arts and creative projects, festivals and artists.