"My work isn’t the best or the worst, but it’s like a mirror. It reflects your current state of mind and maybe even offers a path toward escaping this life into a better world of dreams."

Artist Maximilian Damico captures vibrant cityscapes through swift brushwork and impressionistic detail. Born in southern Italy, Maximilian studied painting at the Academy of Fine Arts in Naples before traveling to cities like Paris, Barcelona, and New York to shape his style. After five years of wandering, he returned to his hometown on the Amalfi Coast and entered a watercolor contest for fun. Though it was his first time working with the medium, the experience sparked his love for the technique. He now resides in Prague and paints en plein air. Maximilian finds inspiration through travel, nature, and exploring remote towns and cities.

In this inteview, Maximilian shares about his family and how global travels define his art.

Please tell us about yourself.

My personal life is a bit complicated. I’m an artist who needs daily inspiration—traveling and connecting with different people whenever possible. But I’m also a father of two and a husband, with all the responsibilities that come with that role. Honestly, I prefer this part of life. Being home and watching your family grow is a real privilege.

What are you most proud of—whether in art or another part of your life?

As I mentioned in the first question, the best part of my life is exactly today. I had quite a lively youth. After studying fine arts, I traveled around the world for five uninterrupted years. I saw and experienced a lot, but I wouldn’t trade my current life, more routine, studio, and work-focused, for my rebellious past. In fact, that background helps me compare then and now. I’ve come to understand what’s truly best for my peace of mind and my work.

Do you have any studio rituals that help you get into a creative flow?

I don’t have specific rituals when I work. Usually, if the season allows, I leave the studio to paint on location. I try to visit a city somewhere in Europe at least once a month, either to work plein air for a few days or just to step out of the studio or explore the city center where I’m currently living. When I work in the studio, I usually prefer to paint at night, under artificial light—I’m not sure why. A little jazz music, and then the rest is in the hands of the God of Colors. One thing I do try to avoid in the studio is technology. I don’t like using a computer, camera, or even my phone. I usually reference old pictures from books or postcards instead.

How do you structure your day?

I wake up pretty late. A couple of strong coffees, then I spend some time reading, looking at old master paintings or contemporary art magazines, poems, or studying the Czech language. I also try to sit in the sun for about half an hour when possible. Before lunch, I work on the computer—chatting with collectors and friends, solving problems, sending emails, uploading photos, and constantly trying to deepen my understanding of the art market, especially the online art market, which is growing exponentially every day and becoming more complex. I try to stay in a safe zone, but it’s tough.

When my kids come home from school, we have a classic, rich Italian lunch. Then we rest a bit in the garden, lying on the hammock or taking care of the plants. In the afternoon, we go out with the kids to play and burn off some energy. Then night falls, and the magic starts. After a few sandwiches and a beer, I go into the studio and work for a few hours. Sometimes I go out with friends for drinks and conversation, or to the theater. So, my production isn’t constant, but I do constantly feed my inspiration with good feelings.

Where do you find inspiration for your art?

Inspiration comes from my daily life. Lately, I’ve been trying to find a sense of the miraculous in the everyday. I also look at books by great artists, visit museums and exhibitions of contemporary art, and often scroll through reels and images from younger artists on social media to stay updated. They have great ideas and use technology as part of their artistic process. It’s really inspiring.

Tell us about your evolution as an artist.

I studied fine arts in Naples, then moved to Barcelona to start my career. I lived in London for a few years, then New York for one year, and later in Andalusia. Eventually, I settled in the Czech Republic, first Prague, and now my home and studio are in Brno, the second largest city here.

As for style, I’ve gone through different phases. At the beginning, I worked on large canvases with abstract structures. Then I began sketching and drawing portraits in small sketchbooks, often while riding the metro. Later, I developed a personal expressionist style that mixed figurative and abstract elements.

Today, I mostly use watercolor and architectural compositions in my work. I never followed the rules of traditional art movements. I never joined one mentally or physically. I just use them as a pretext to start a painting, and then I let my inspiration take over to solve compositional problems.

How do you decide when an artwork is finished?

It’s very natural for me. It’s a feeling like when you’re in a relationship and the romantic phase ends and real life begins. It’s something like that. Once I finish a painting, I feel ready to move on, excited to start something new and explore a fresh idea.

What is the most interesting observation someone has made about your work?

It wasn’t a gallerist, a journalist, or an art expert. Years ago, a friend of my flatmate looked at one of my works and said that she didn’t like what she was seeing, but she could see it as a mirror. “You can see yourself in those shapes and colors,” she said, “and actually feel what you’re experiencing in that exact moment.” That helped me shift my work toward creating more of a sensory experience, not just showing off technique, which can often feel empty.

Is there an artwork from another artist that has had a significant impact on you?

Yes, I love the Baroque style because of the sensory experience it gives you when approaching a painting. I like Caravaggio and Velázquez. I also love the sensitivity and movement in the brushstrokes of Sargent, de Kooning, and even Pollock.

What’s your favorite museum?

I’ve enjoyed many museums I’ve visited—MoMA and the Met in New York, the Louvre in Paris, the Uffizi in Florence, the Prado in Madrid, the MuseumsQuartier in Vienna, Capodimonte and Pompeii in Naples. And I absolutely love the British approach of free museum access—it’s fantastic. But to me, the best open-air museum is Rome. Just walking around the city, you’re immersed in 2,000 years of art at the highest level. It’s free, open anytime, and no alarms or guards pushing you away when you try to get close to the artwork.

Is there anything else you’d like to share to help viewers better understand your work?

Just be yourself. My work isn’t the best or the worst, but it’s like a mirror. It reflects your current state of mind and maybe even offers a path toward escaping this life into a better world of dreams.