Interview with the Artist Behind Signs & Crimes

August 27, 2026

Through his answers, Maxime has revealed a complex artistic practice that translates into works that are powerful, distinctive, and immediately recognizable. He has also demonstrated how his journey through the graffiti scene opened the door to exploring different creative avenues, allowing him to gradually develop a style and artistic signature rooted in his own cultural references.

For our upcoming exhibition, Max wanted to shine a spotlight on SIKE by referencing one of the graffiti pieces SIKE created while living in Montreal. Located in the tunnel of the Saint-Laurent metro station, the work left a lasting impression on the collective imagination. At a time when graffiti was still relatively rare, SIKE dared to take on an ambitious challenge by creating a monumental piece in a high-risk location. It was an act that inspired a generation of young artists to step outside the boundaries of traditional artistic frameworks.

There are strong chances that you have already come across Max Burg’s work without even knowing it. In the streets of Montreal, his universe can be found just about everywhere: on the sign of a barbershop in La Petite-Patrie, on a Signs & Crimes sticker placed on a mailbox, or in one of the paintings created for the Montreal Canadiens’ Artist Series. His work appears in a wide variety of contexts, yet the artist behind these works remains largely unknown to many. As part of our upcoming exhibition, in which he will be featured, Max agreed to answer our questions about his artistic practice and to tell us more about his journey. Through his answers, we invite you to discover the world of this Montreal-based artist, whose distinctive work is sure to catch your eye.

As a self-taught artist, Maxime has developed an approach rooted in sign painting, a form of painting that involves creating lettering on buildings, billboards, or signs to promote, advertise, or identify products, services, and events. Through this practice, Max has distinguished himself by playing with contrasts and colors, as well as by incorporating gold leaf into many of his works. In addition to this, Max primarily paints on glass, which makes his process all the more complex and meticulous. He must paint in reverse, or as a mirror image, so that the reflection viewed from the outside appears correctly oriented. Although he has developed a visual language that is uniquely his own, the content of his works is equally distinctive. One can clearly see the extensive research Max undertakes into cultural references and imagery.

About the Artist

Interview between Étude and Max :

Tell us about your journey and explain your relationship to graffiti.

For more than 25 years, I practiced graffiti intensively. At some point, I decided to pursue other interests, putting that same energy and dedication into them. Sign painting was something that had always fascinated me and, given my interest in lettering, graphic design, and branding from the pre-digital era, it felt like the logical next step in my journey. Learning a new craft and having the feeling of starting from scratch was a challenge that appealed to me.

Our upcoming exhibition focuses on the work of artists who have left their mark on the Toulouse art scene. Among them is SIKE. Would you say that he has had an important influence on the international scene and on your own practice?

Toulouse has had a very rich graffiti scene for a long time. I think we were all heavily influenced by SIKE and his relentless work in the streets and on trains, whether in Montreal or Toulouse. His influence, both through his style and his boldness, can still be felt today. His chrome-and-black formula, which could be found everywhere around Habitations Jeanne-Mance in downtown Montreal, is still a winning combination that I regularly use myself when I paint. His work left a mark on me both because of its quality and its consistency. His longevity has made him an important figure in the international graffiti community. We can therefore say that the imprint SIKE left on the Montreal graffiti scene in the early 1990s is invaluable. He managed to influence the generations that followed, including artists such as Toone, Debza, Metro, and myself. That same energy can now be found in his gallery work.

Knowing that graffiti functions as a system of signs, and that you often incorporate nostalgic elements into your work, how would you describe your art? Does it stand apart from that of others in your field? If so, how?

As with graffiti, lettering is an integral part of my work. The techniques, tools, and materials I use are generally the same as those of a traditional sign painter, but my subjects, references, and sources of inspiration come from my own journey and personal experiences.

My work is largely influenced by the popular culture of the 1980s and 1990s—advertising, current events, sports, music, and so on—as well as by its various subcultures. I create works of art rather than providing a service to a shop owner or a company. I therefore do not consider myself a conventional sign painter at all.

Signs & Crimes” — Where did the idea of using this username as part of your artistic identity come from?

It is more a name I gave to my lettering exploration project than to an artistic identity. These words refer to my two main sources of inspiration: sign painting and graffiti. The name “Signs & Crimes” therefore evokes the meeting point between these two worlds which, although very different, are both part of my journey and of the way I approach lettering.

Where do you see your work evolving over the next few years?

I see my art continuing to evolve around lettering, while further refining my sign-painting techniques. I also want to keep experimenting, particularly by exploring new materials, formats, and ways of presenting my work.

In my opinion, the surface on which my work is presented is just as important as the artwork itself. Its shape, color, and texture can enhance the piece and contribute fully to its visual impact.