Max Marttila’s latest art exhibit, “Places to Rest,” currently running at Incline Gallery in San Francisco, offers a unique blend of urban nostalgia and personal reflection. The show began on July 11 and will continue until August 10, showcasing Marttila’s distinctive perspective on the city he calls home.
Known for his vibrant street murals that delve into the dynamics of community culture, Marttila’s new collection takes a more introspective approach. One of the standout pieces reinterprets Lou Seal, the San Francisco Giants mascot, in a playful twist that engages with the city’s sports culture while also beckoning tourists with an edgy humor.
While the murals Marttila has created across the city are large-scale collaborations, his current works at Incline Gallery are much smaller yet equally impactful. With a focus on personal significance, Marttila draws from his experiences of loss, having faced the deaths of several friends and family members over the past year.
The name of the exhibit, “Places to Rest,” pays homage to the gallery’s unique history as a former mortuary. This connection to themes of mortality and remembrance resonates through the artwork, which is a multifaceted exploration of both grief and celebration of urban life.
Incline Gallery, located at 766 Valencia St., is described by co-founder Christo Oropeza as the “Mission’s Guggenheim,” a space that fosters a shared visual dialogue in a city steeped in rich cultural history. Marttila’s art reflects this ethos, capturing the spirit of San Francisco without relying solely on nostalgia.
Walking to the gallery, Marttila pointed out several of his murals, each a testament to his collaborative spirit and dedication to preserving the cultural fabric of the Mission District. From the corner of 17th and Mission to 18th and Valencia streets, these murals depict significant local narratives and foster a sense of community pride.
Marttila emphasizes the power of muralism in shaping the visual landscape of neighborhoods, particularly in response to the gentrification that began in the Mission in the 2000s. His art serves as a form of political expression, representing the area’s historically diverse community.
Upon entering Incline Gallery, visitors are immediately greeted by a piece Marttila describes as a “residual painting.” Initially created as a testing canvas for larger projects, it evolved into a captivating collage of meaningful imagery layered over modernist strokes and pop culture references.
The works on display throughout the exhibit juxtapose various themes, utilizing elements of pop art, urban folklore, and personal anecdotes. For example, Marttila incorporates imagery associated with Palestinian resistance, transforming it into intriguing, Rubik’s-cube-like configurations.
Each painting is a testament to the artist’s playful engagement with culture and identity, with visuals ranging from Gundam robots to whimsical depictions of city life. One notable piece features a canvas crafted from shredded lottery tickets, seamlessly marrying the theme of chance with urban experience.
Marttila’s paintings invite viewers into an intimate exploration of his thoughts and feelings, revealing a candid look at the artist’s psyche. While his murals reflect broader community narratives, the solo show takes a more personal turn, at times hinting at self-imposed limitations in expression without an audience.
Curiously, the artist notes an inexplicable recurring theme of washing machines in his work, a symbol whose importance remains elusive even to him. This whimsical reflection is part of what makes Marttila’s art relatable and richly layered.
Amidst the diverse array of artworks, the centerpiece of the exhibition is a striking skull composed of segmented aerial views from various Bay Area neighborhoods. This complex piece captures the dichotomy of loss and fondness for his home, making it a poignant focal point of the show.
Oropeza has referred to this skull as the “blue note” of the exhibition, encapsulating Marttila’s emotional journey while also serving as a homage to the city’s past. Yet, the exhibit extends beyond just this singular piece, as it culminates in a collection of 22 sketches directly from Marttila’s sketchbook, offering insights into his creative process.
These sketches reveal unfinished projects and symbols imbued with personal significance, providing a glimpse into the artist’s subconscious. They contrast the more polished paintings, rooted in the urgency of urban storytelling.
Reflecting on his journey from muralist to gallery artist, Marttila expresses a preference for the communal nature of public art, where he can receive immediate feedback and engage with passersby. In contrast, the process of creating in solitude can feel more intense and fraught with pressure.
Describing one of his paintings in light-hearted fashion, Marttila blends humor with commentary, stating it features “Gundam stuff mixed with, uh, dietary restrictions. And a robot coffee cup.” This whimsical approach characterizes much of his show, balancing the playful with the profound.
As the exhibition draws visitors into Marttila’s world, the final artwork serves as a humorous homage to Bush Man, a beloved San Francisco street performer renowned for his surprise antics. Marttila’s cartoonish reinterpretation captures not just the essence of this urban myth, but also embodies the community spirit that echoes throughout his exhibit.
“Places to Rest” at Incline Gallery stands as a testament to Max Marttila’s dual identity as both a muralist and a personal artist. The show, filled with colorful storytelling and emotional depth, celebrates the complexity of life in San Francisco as it reflects the artist’s own experiences and perspectives.
The exhibit will continue until August 10, offering a chance for the community to engage with Marttila’s imaginative interpretations of their shared urban experience.
image source from：missionlocal
