An attempt at order
2022-06-30 - 2022-07-29
Marian Meško ǀ An attempt at order
Recently, we have become accustomed to perceive Marian Mešek primarily as the initiator, curator and organizer of exhibitions of his colleagues and students, who, as a famous arbiter elegantiarum, can also impressively install and comment. Today, without him, some of the companions from the joint group A-R will not "move" without his exhibitions, co-creating an innovative program of analytical painting with them in the middle of the 1970s. Marian Meško (1945) - famously "unobtrusively" points out (for example, always at the turn of the year, as one of the last, hand-drawn and painted New Year's cards) - that he did not stop creating and that his work still excites him. He brought to the exhibition at the Roman Fecik Gallery the work of the last ten years, more faithful, a small selection, a cross-section of it. All the papers, of various sizes and formats, which have mostly not yet been exhibited: they are united by one consistent creative program, one inner world rich in feelings, and another concept. Two words that should appear on the label under each part, but since they keep repeating themselves, we decided to omit them: a combined technique. But when we divorce them, turn them into small ones, they may provide us with something more than a key to understanding his works. He creates them by combining and interweaving the means of drawing, painting, terry and collage, behind their creation is the whole complexity of the process of creation and its processuality - redrawing and repainting, printing, washing, overcoating, tearing, burning, gluing and gluing, perforation ...
Although Meš's field of activity was and still is the world around, but you may not recognize it immediately, because in his works he is transformed, sophisticated, focused on magnification, detail, "fragment fragment", the most elementary elements, traces of the surrounding space in which he lives and which seems to watch under a kind of microscope or under a magnifying glass, resulting in a peculiar kaleidoscope of surfaces, lines and shapes. What appears to us in his paintings as abstract and dematerialized is, in fact, concrete and material. Until recently, Mešek's art world was very contrasting, perhaps a little exalted, there was a lot of black, quick gestures and haptics, sharp (bodily) action in handling material and expression, but - the excitement was always alternated by pause, darkness, monochrome black, a whole palette of earthy and ocher tones, screams of silence, hardness and force "softness" and suppleness, destruction of "construction". On the one hand, there is spontaneity, improvisation, the magic of chance; on the other hand, intellectual correction, clear intention and forethought, perhaps a little distance and insight, which the author himself (in the visual chaos of this world) called (along with the exhibition) - "an attempt at order". What the viewer, who knows Mešek's previous work, now notices is that there has been a special silence and reflection of expression, expression - "magnetic resonance" of letters composed of fragments, traces of imprints of old beams (from Andrejovka) balanced by deep lyricism, poetry , the delicacy of color and light touches, strokes, perforations. The author may shake our hand much more and more emphatically to empathize with the work, to stop, to meditate and also - to the visual experience.
Some time ago, the change was noticed by Mešek's court monographer Peter Zajac, who included his latest work in the "period of subtlety", Elena Mešková, a photographer and wife, called them even more fitting: "romantic abstraction". Beauty probably won't save the world anymore, but still ... Today, in our noisy time, Marian Meško built on silence, on the trembling of light in a drop of dew ...