1LC DipSymM Neg - (2010) Painting

1LC DipSymM Neg 2010 SOLD framed in bespoke welded Aluminium to a private UK collector in 2012. Description: Left: Ivory Black on Indian Yellow Right: Titanium White on Indian Yellow on Ivory Black Medium: Oil on paper CiS Review by Ruth Solomns Marek’s paintings are based on a particular sort of line that derives from drawing both in concept and through attention to placement upon surface: painted lines which relate directly to a mode of thinking that is particular to drawing, of gesture then decision then gesture, both disjointed and continuous. With their fixed width and deliberated routings, Marek’s carefully painted lines denote the use of a tool – in actuality a paintbrush. Yet they draw allusion to a physical sculpting from a machine-like tool which would produce such a uniform line. ... each line is able to be read as distinct over-layered pathways in tangible visual space. Marek’s emphasis on drawing permeates the paintings, leaving traces of the decision-making process underlying each paintings’ construction. Serial circular arcs imitate and perfect a natural curve of an artists’ reach, with gestation periods between each decision point: like a time-line, accelerating and slowing. At times lines become dense: deliberated in twists and junctures. Restlessly fluctuating they give a feeling of lightness and air, a three-dimensional nest-space. Your eye dances with the changing directionality: parallel, divergent or convergent, implying perspective in silhouetted three-dimensional form. Your eye dances not just across the plane of the painting but also backwards and forwards in the three-dimensional area between you and the painting. ... Continuum in Symmetry is a painting show that fits very securely into the realm of painterly painting, and showcases Marek’s work as studio-based investigation into painting process: an artist’s artist. Yet there is a generosity evident that resists definition as pure painting in a Greenbergian sense: a playfulness in the repetition of an ambiguous network motif that signposts distinct colours and distinct layers into an open field of visually enjoyable painted surface. Even the thinnest most tenuous faint lines stretch across the full picture plane, and so play an equal role; in analogy Marek’s quiet paintings are indicative of a prevalent tendency towards honesty and beauty in painting now, away from showmanship, trickery and illusion. Ruth Solomons is a writer, researcher and artist based in London. Full article: