Although the ‘landscapes’ in Maximova’s works were created with fast, sometimes very basic digital techniques, she succeeds in realizing them with the same kind of sublime sensitivity, that radiates a strong expression of psychographic displacement, melancholy and ‘Sehnsucht’. In this sense the video works of Maximova are strongly contemporary: they show abstract, slow and uncanny pictures that seemed to be captured for - and by - young artistic expats who feel a need to make any city or country their own, forced by the internationalization of their art practice, without ever really feeling at home.
From a thematic-visual point of view, Maximova’s work is in a positive manner to be mentioned as ‘out of this time’. The inert, quasi (theatrical) narrative image construction and universal thematic quality of the video works spontaneously create a surprising conceptual character, which subtly indicates the use of cinematographic and narrative codes. Eventually, the medium video is hacked itself.
In that sense, the content of Maximova’s works show - at least emotional- resemblances with video artists such as James Coleman, Catherine Sullivan and Gerard Byrne, who, in their videos, adapt these theatrical and cinematographic codes on a meta-medium level.
These artists however, belong to an entirely different generation - whose careers broke through in the second half of the 1990s - a period when video art as a conceptual medium began spinning off against its own technicality. In this light of many young contemporary video art, that often refers to or inspires itself by popular culture phenomenae - music, games, social media, etc .. - the references in Maximova’s work are - to say at the least - striking. In my opinion they show an authentic maturity, not only towards the medium she practices, but also to the genuine emotional content she shapes them with. It generates a spontaneous belief in slowness, as well as believing slowly. It hinders as it were, the passing of time. Exactly this creates something fundamental, something our contemporary society lacks: the construction of a genuine memory and the sharpening of a long-lasting, intricate memory.
Thibaut Verhoeven, januari 2017