Saint Cloche is delighted to present Scrap Forever, a new solo exhibition by Max Doyle, also known as Scrap Doyle. A defining voice of the 1990s, Doyle emerged from London’s grunge era, where a raw, instinctive visual language took shape at the intersection of fashion, art and counterculture. The exhibition takes its title from Doyle’s latest single, to be performed live on opening night, extending his practice into sound as both gesture and atmosphere.

Renowned for his fashion imagery and portraiture, Doyle’s work occupies a space where elegance meets disruption. Formed during a moment of cultural shift, his sensibility remains attuned to fracture and allure, where beauty is never fixed and image-making is instinctive and lived.

Scrap Forever builds on the foundation of his first solo exhibition with Saint Cloche, deepening his interest in fragmentation as both method and metaphor. Images are treated less as singular moments and more as accumulations, cut, reworked, reprinted and reassembled, a life not documented, but continually edited.

Across the exhibition, Doyle resists refinement in favour of immediacy, maintaining a practice that is open and restless. Not a retrospective, but a body of work still in motion.

“When I look back, over my life
All the bits, wrong or right
I see it like a scrapbook
But I won’t take more photos tonight

Rough scrap, of where I’m never going back
That was another life
The way it all now blends together
I’ll be Scrap forever

Cut it all to pieces, stick it all down
You’ll see me like a scrapbook
Folded, ripped, torn and stuck down
I’ll never be refined”

Max Doyle is an Australian artist and photographer whose practice spans fashion, portraiture and publishing. Following an international career across London and New York, he returned to Sydney in 1999 to co-found doingbird magazine with Malcolm Watt, an independent title known for its unfiltered perspective on culture and style.

Working across image and sound, Doyle’s practice embraces fragmentation, immediacy and lived experience. His work resists resolution, instead inhabiting a space of continual reworking, where identity, memory and image remain fluid and evolving.