Jaymax

Where do you live: Montreal
Your education: Degree in Information Technology
Describe your art in three words: Creative, immersive and inspiring
Your discipline: Airbrush art
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Can you tell us about your artistic journey and how you became interested in airbrush art?

My artistic journey has been a blend of curiosity, passion, and experimentation. I’ve always been drawn to art in various forms since I was a kid. I started with traditional mediums like pencil and paint, but I was constantly looking for new ways to express myself and create more dynamic, vibrant works.
My interest in airbrush art began when I visited an artist’s studio in my neighbourhood at the time and I saw the stunning detail and smoothness that he could achieve with an airbrush, from there I knew I had to learn that. I was fascinated by how this tool allowed artists to blend colors and create incredibly intricate details that weren’t possible with regular brushes. It was a game-changer for me, and I decided to dive in and learn everything I could about it. I carried out research on where I could purchase one for myself and spent time studying different techniques, practicing on various surfaces, and experimenting with different styles. The precision and versatility of airbrush art captivated me, and I quickly found it was a medium that aligned with my vision and artistic goals.
As I continued to develop my skills, I discovered the endless possibilities that airbrush offers, from portraiture to abstract works, to designs that seem to come to life with dimensional effects. It’s been a rewarding journey of constant learning and pushing my boundaries as an artist. What I love most about airbrush art is its ability to evoke such realism while allowing me to explore creativity in new, unexpected ways.

Your work blends hyper-realism with surreal elements. How do you decide on the balance between these two styles in your pieces?

Finding the balance between hyper-realism and surrealism is something that comes naturally to me, but it’s also a deliberate process. I love the challenge of combining the two styles because it allows me to push the boundaries of what’s possible while keeping a strong sense of realism.
When I approach a piece, I start with the hyper-realistic elements because I enjoy capturing the fine details and textures that make the subject feel tangible. This helps anchor the viewer in reality, making the surreal elements feel even more impactful when they appear. I think of the surreal elements as a way to heighten or transform the reality I’ve already established. They might come from a concept or an emotion I want to express, and I think about how to introduce them in a way that feels organic rather than forced.
The key is to maintain a sense of harmony. I ask myself how the surreal elements can coexist with the realistic ones to enhance the narrative or evoke a certain feeling. Sometimes, I’ll use contrasting colors or exaggerated proportions to draw attention to the surreal aspects, while still keeping them grounded by the realistic details. The goal is to create an immersive experience where the viewer can feel like they’re stepping into a world that’s both familiar and dreamlike at the same time.
Ultimately, it’s about trusting my instincts and allowing the piece to evolve, sometimes in unexpected directions, while always keeping that balance between the real and the imagined.

What challenges do you face when working with airbrush, and how do you overcome them?

Working with airbrush definitely comes with its challenges, but I enjoy the problem-solving aspect of it. One of the biggest challenges I face is achieving the level of precision I want, especially with intricate details. Airbrush is an incredibly versatile tool, but it can sometimes be difficult to control, especially when it comes to fine lines or blending multiple layers smoothly. To overcome this, I spend a lot of time practicing control and working with different air pressure settings to ensure I can achieve the right effect. It also takes a lot of patience—sometimes I’ll layer colors slowly and carefully, allowing each layer to dry before moving on to the next, to ensure the smooth transitions and crisp details I’m after.
Another challenge is dealing with inconsistencies in the paint or nozzle clogging, especially when I’m using multiple colors or switching between fine and broad spray. I’ve learned that regular maintenance of my airbrush tools is essential. Cleaning them thoroughly after each session prevents clogs and ensures the airbrush performs at its best. It’s a bit tedious, but it’s a necessary step to avoid any interruptions during the creative process.
Sometimes, I also encounter challenges when it comes to working with different surfaces. Each material can behave differently, and not every surface responds to the airbrush in the same way. Whether I’m working on canvas, metal, wood or fabric, I have to adjust my technique and the type of paint I use accordingly. I’ve learned through trial and error what works best on different surfaces, and over time, it’s become easier to anticipate these challenges.
Ultimately, it’s about being patient, practicing consistently, and finding solutions that work for each unique project. Every challenge I face with airbrush art is an opportunity to learn and refine my skills further.

You experiment with textures and surfaces in your art. Could you share a memorable experiment or breakthrough moment in your process?

Absolutely! One of the most memorable breakthroughs in my process came when I decided to experiment with non-traditional surfaces for airbrush art. Up until that point, I’d mostly worked on canvas and smooth panels, but I wanted to push my boundaries and see how the medium would interact with other materials. So, I tried working on cotton and polyester clothes and even leather.
The breakthrough moment came when I worked on a piece for an exhibition where I used a t-shirt as the base. I was attempting to create a hyper-realistic piece, but the texture of the t-shirt gave the arts an almost organic feel that I hadn’t anticipated. The way the paint absorbed and reacted to the surface created unexpected depth, and it gave the piece a life-like quality that I hadn’t experienced before. The texture of the t-shirts and all other fabrics, combined with the airbrush’s fine detail, creates a beautiful contrast between realism and the surface’s natural grain.
That moment really opened my eyes to the possibility of how texture can play a crucial role in the narrative and emotion of a piece. It taught me that the surface can be as much a part of the art as the imagery itself, and now, I love experimenting with different textures to see how they influence the final result. It’s given my work a whole new dimension and has become a central part of my artistic process moving forward.

How do you approach conceptualizing an artwork? Do you start with an idea, or does the process evolve as you work?

I’d say it’s a combination of both. Sometimes I start with a very clear idea or concept in mind, often inspired by a specific theme, emotion, or even an experience I want to explore. In those cases, I’ll plan out the composition, color palette, and certain details before even picking up the airbrush. I enjoy the structure of having a roadmap for the piece, as it helps guide my decisions along the way.
However, other times, the process evolves more organically as I work. I might start with a loose idea or an abstract feeling and let the piece unfold as I go. I find that as I begin layering and experimenting with the airbrush, new elements emerge that I hadn’t anticipated. It’s in these moments that the art takes on a life of its own, and the process becomes more intuitive. Sometimes a small detail will spark a new direction, and I’ll follow that thread, letting the piece guide me rather than sticking strictly to a preconceived plan.
Ultimately, I think both approaches complement each other. Having a clear starting point can provide direction, but being open to unexpected changes allows the artwork to evolve into something even more dynamic. I love the flexibility of the creative process and the freedom it gives me to explore and innovate.

Airbrush art is known for its fluidity and precision. How do you maintain such fine control while still allowing for creative freedom?

Maintaining fine control while still allowing for creative freedom with airbrush art is all about balance and practice. I focus a lot on mastering the technical aspects of the tool, like adjusting air pressure and controlling the flow of paint, so that I have the precision I need for detailed work. That control gives me the foundation to create hyper-realistic textures, sharp lines, or fine gradients. But while precision is important, I also give myself space to explore and experiment.
For me, part of the beauty of airbrush is that it allows for such fluidity in blending colors, creating smooth transitions, and even improvising with different effects. I think the key is to strike a balance between planning out specific elements and embracing the moments when the paint does its own thing—whether it’s a soft mist, a spray pattern, or a surprising drip. I try to stay open to those spontaneous moments, as they can often add depth or an unexpected twist to the artwork.
Ultimately, it’s about mastering the tool to the point where it feels like an extension of myself, so that I can let my creativity flow without being restricted by technique. As I build more control and confidence, I can allow myself to experiment, knowing I can always adjust the outcome if needed. The fluidity of the airbrush invites those moments of creative freedom, and it’s a constant dance between precision and letting go.

What do you hope viewers take away from your art? Are there particular emotions or thoughts you aim to evoke?

What I hope viewers take away from my art is a sense of connection, whether it’s to the subject matter, the emotion behind the piece, or even to the feeling of wonder that comes from experiencing something surreal. I want my work to spark a conversation in the viewer’s mind, to invite them to look deeper and see beyond the surface.
Emotionally, I aim to evoke a sense of awe, curiosity, and reflection. Through the blend of hyper-realism and surrealism, I want people to feel like they’re stepping into a world that’s both familiar and strange, a place where the boundaries of reality can be stretched. Whether it’s the delicate details that draw them in or the unexpected elements that challenge their perception, I want viewers to feel like they’re engaging with something that resonates on a deeper, perhaps subconscious level.
I also hope my art encourages viewers to embrace the unknown and to find beauty in the unexpected. Art, for me, is a way to communicate the complexity of human experience, so I want people to reflect on their own emotions and accept them, dreams, and even their fears. It’s about creating a space where people can pause and experience something thought-provoking, with room for their own interpretations and personal connections to the work.