The Prodigy came about in 1990, and I think you’ve been responsible for much of its latter-day graphic display.
We spoke to Maxim from his sculpture digs in London. And while “Hope” sculptures came with bespoke memory cards containing the four-track Hope EP, the project can be fully appreciated online and visually as part of Maxim’s Instagram and his website with the music to be made available via streaming services-all at a time when the world slowly returns to normalcy. Inspired by the ideals of hope that carried the public through the pandemic of COVID-19 and the quarantined social isolation, there’s something ferocious in the sculptures’ portrayals of children, gas masks, and hand-grenade hearts (see below). “Hope” is available worldwide, beyond its initial VIP viewing at London’s 99 Projects Gallery and Event Space. Then there’s “Hope,” a new aesthetic project combining mixed-media sculptures and an installation exhibition devised with fellow artist Dan Pearce, and which also features a fresh solo EP release and short film due shortly.
Known as Maxim, Palmer’s talents in multimedia art forms, including sculpture, have long been on display for audiences through Europe and Great Britain. No Prodigy member is busier and more multifaceted across differing genres and aesthetic values than its other vocalist, Keith “Keeti” Palmer. Despite the passing of its spikiest member, singer Keith Flint, in 2019, The Prodigy remain an active and incendiary force-and not just in music and film, with new efforts coming forth on both fronts (including a documentary scheduled for release later in 2021). The name The Prodigy carries with it the awe of early British EDM’s bold mix of spiky electronics and the aggression of punk rock, with every recording and video of theirs appearing to be ripped from the band’s collective loins.
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