Max Capacity is a digital artist exploring the intersection of analog and digital media and the fetishization of obsolete tech. His practice spans analog VHS video glitch — CRT monitors, dirty mixers, chroma key processors — and pixel art, from hand-built cityscapes and NES hex glitches to DOS Punks, a collection of 1,000 unique pixel art PFPs. The common thread is finding beauty in decay, entropy, and disintegration through color, movement, and humor.

Max has been creating and sharing work online since 2005, beginning with the Analog Medium collective in Santa Cruz, CA — circuit bending, early VHS experiments, and video art shared via YouTube and blog. The Max Capacity name emerged on Tumblr and Twitter in 2008, leading to features in VICE, The Verge, WIRED UK, Complex, Dazed Digital, Boing Boing, and Forbes, and exhibitions on six continents. Institutional credits include PARALLAX ViξW at the 55th Venice Biennale (2013), the International Teletext Art Festival at Ars Electronica in Linz (2013), First Thursdays at the Art Gallery of Ontario in Toronto (curated by Lorna Mills, 2013), and the DVD Dead Drop at the Museum of the Moving Image in New York (2012–2013).

Max is cited in two foundational academic texts on glitch art: Rosa Menkman's The Glitch Moment(um) (2011), which categorizes him as a "signal processing artist," and Gazana et al.'s peer-reviewed article in Revista Cultura Visual (2013), which describes his practice and reproduces his work — making him one of the few artists discussed in both of the field's early theoretical publications.

Since 2021, Max has been active in cryptoart, minting across Ethereum, Solana, Tezos, Bitcoin, and Base. His work has been exhibited at events and galleries in Tokyo, Paris, CDMX, Riyadh, Rome, Berlin, Melbourne, Seoul, and Lisbon. He curates the Protocol Decay exhibition series and the Analog Video Union collection on Foundation.