In a candid conversation with Metro, Maxim from The Prodigy shared a poignant chapter of his artistic journey—one marked by both creativity and catharsis. The backdrop to this tale is the tragic death of his bandmate, Keith Flint, which led Maxim to make a symbolic decision regarding his unique art collection.
Over a decade ago, Maxim conceptualised an ambitious project: creating artwork paying homage to those who had joined the infamous “27 Club” due to drug overdoses. Icons like Jimi Hendrix and Jim Morrison, who left an indelible mark on music and culture, were at the forefront of this artistic endeavour. Maxim took a distinctive approach, experimenting with incorporating pills into the creative process—a practice that resonated with fellow artists after The Prodigy frontman embraced it.
Fast forward to 2019, and the music world was rocked by the news of Keith Flint’s untimely death; his body was found with a mixture of drugs, prompting speculations of suicide. In the aftermath of this tragedy, Maxim made a significant choice: he decided to bid farewell to his art collection, setting it ablaze “like a bonfire in the back garden.” For Maxim, preserving the collection no longer felt right.
The Prodigy, initially a quintet featuring producer Liam Howlett, Maxim, Flint, Leeroy Thornhill, and dancer Sharkey, skyrocketed to global fame. Their studio album ‘The Fat of the Land,’ released in 1997, sold a staggering 10 million copies and solidified their status as music pioneers. Glastonbury headlining followed suit, marking a pinnacle in their illustrious career.
However, as with many journeys to stardom, the path was not without challenges. Keith Flint, in an interview with Metro, shed light on the complexities that fame brought—a whirlwind of excess cash and time that often led to a ceaseless search for thrills. His candid admission about lining up rows of pills and consuming them until losing consciousness paints a vivid picture of a tumultuous period. Reflecting on that era, Flint acknowledged the self-destructive nature of his behaviour, stating, “I did fuck all, really, apart from being a jerk.”
In stark contrast, Maxim has embraced a different lifestyle, distancing himself from the excesses of the past. Once accustomed to bringing a hip flask filled with brandy on stage, he now opts for a healthier post-performance ritual, requesting “someone to bring me a green tea.”
This narrative serves as a poignant reminder of the multifaceted nature of artistic expression and the personal evolution that accompanies it. Maxim’s decision to let go of his art collection becomes a symbol not only of closure but also of an artist navigating the ever-shifting currents of creativity and life.
You can purchase pieces from Maxim’s exhibition here
Written by: HMR
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