“How to get a piece of my own?”

All pieces are priced within reason. If you are interested in one, email me on maxim.caspar@gmail.com for more information.

This is a link to the works, along with the last piece of the series, social.


I typically get back to you within the next couple of hours.


UAL Wimbledon degree show.


All are photo etching prints, all prints are 67.5cm x 67.5cm.

works are displayed with heaviest darkest prints underneath the lighter prints.

In order from top left to right:



Fields 2




Temple 2


Bottom left to right:



Darkstar 2


Rays 2

Dark Matter

Thames-Side Print Studio Reference – Nick Richards

I’m very pleased that Max has managed to get his Final Year Show up successfully. I wanted to fill you in about his time spent at Thames-Side Print Studio.

Max has attended regularly at the Print Studio over the past three months. As I am Technician on duty on Tuesdays and Thursdays we agreed that these were the best days to concentrate on the etchings. At first this looked like quite a daunting task. Max was proposing to create a considerable number of sizeable steel photo etchings and I wasn’t quite sure if he understood the amount of work involved. He did however listen intently to my instructions and started to pick up the pace. There were inevitable technical problems that often had to be overcome. At first it was with the original computer drawings and acetates. Later it was with the blue photo emulsion foul-biting in the nitric acid. Max always tried to find solutions and make adjustments which meant he kept gathering pace and confidence.

I found that after most instruction he carried tasks out properly and safely. He operated the UV lightbox properly. His conduct in the Acid room was safety conscious and he was always courteous to other users. Likewise in the Print room he followed good studio practice with plate wiping and clean printing to the point that I was able to get on with my other duties.

I have seen Max’s confidence grow and it has showed with his technical abilities. The images have also become more confident and more intriguing.

I would happily recommend that Max carry on in the Print Studio in the future. He is popular among other users, cleans up after himself (hooray!) and is very established here. I wish him well for his final results.

Best regards

Nick Richards

Tutor and Studio Technician
Thames-Side Print Studio

Gravity Series

Gravity is a series of 12 geometric etchings. The name is symbolic of beginnings. The first force to act upon anything, after the big bang other than the strong force, the weak force and the electromagnetic force.

I haven’t used colour in my prints because using monochrome symbolises universalism and ‘oneness’ and serves as a means of communication transcendent of language, culture and class.

I am looking to release my second series in 2018. The second series will be called Underdog Supremacy, linking a strong force and weak force.

Underdog Supremacy is an exercise on how society and social structure is built from the bottom up. A poem I have frequently thought about is by Niyi Osundare called Not My Business.



Thames-Side Print Studios

Throughout this year I have been working in the Thames-Side Print Studios with the etching studio technician Nick Richards and others. Nick has taught me the photo etching process.

Ultimately I have gained more tips by working with many professional artists in a compact space like the print studio, where everyone is together printing. Each of the artists lay down what they know in order for the others to thrive as well. Nick the printmaker that helped me through and through, taught me about the acids, taught me about how and what each metal etches like and the periods of time through the whole process, for example, 11.0 light seconds in the light box, 30 mins, broken with minute intervals every 10 mins in the nitric acid.


Barton Hargreaves, the screen printing technician helped me to choose the right metal for the right kind of print.



I found most of the process to be therapeutic, once you get into the rhythm of how the process works. One of the only dilemmas was that I was working with such large plates of steel, tiny mistakes could cost me the plate and paper (about £15) which it did twice.

I had to work systematically and not rush anything. Another dilemma was that because of the size, when I printed the graphic on acetate, I was left with a lot of pixels on the graphic, which I had to scratch off when the graphic was on the plate with a burnishing tool, this was the longest part of the process and took the most time, although it did give a good feel to my work, to go through manual sketches, into digital manipulation, then manually scratching out the pixels and manually printing the piece, it gave a good mix of analogue and digital to each piece.