Max Capacity is a digital artist based in Santa Cruz, California, working across analog VHS video glitch and pixel art, from hand-built cityscapes and NES hex glitches to DOS Punks, a collection of 1,000 pixel art PFPs. Since 2005, when he began with the collective Analog Medium, he has found beauty in decay, entropy and disintegration through color, movement and humor.
Working under the name Max Capacity since 2008, he built a following on Tumblr and Twitter for glitch art made with NES, Atari, Commodore 64 and ZX Spectrum games and hardware, work later covered by VICE, The Verge, WIRED UK and Boing Boing. In a 2011 interview he described how, working with already half-broken electronics, he moved from capturing accidental glitches to deliberately provoking them, finding in glitch art a nihilism and entropy he considered beautiful. In a 2011 Digicult interview, the curator Matteo Bittanti listed him among a handful of artists then working in game art. Max Capacity is cited in two of the field's early theoretical texts: Rosa Menkman's The Glitch Moment(um) (2011), which categorizes him as a “signal processing artist” alongside LoVid, and a 2013 peer-reviewed article in Revista Cultura Visual, which reproduces his work X1689-0000 alongside a descriptive paragraph.
