Andrzej Turowski on Marek Szczesny

In art the banality of contact with the everyday is something extraordinary when at the sources of artistic experience there appears an unknown coincidence, some chance encounter, an unexpected tangle of events, or simply an unconventional glance. Among the grayness there are flashes of color. Filling the canvas with forms means the gluing together of those biographical crumbs that have stuck in memory as extraordinary into some unfinished whole; it means emotional returns to one's past, the wrestling with the emptiness of the present times and the ephemeral character of the imagined future. Biography plays a fundamental role in Marek Szczesny's art. In reality, it is a long journey through the world in the uncertainty of having some support in life and in the search for the precision of the shape of painting. We know about it from anecdotal bits and pieces, from beneath which emerge sketchily drawn, as if with charcoal, silhouettes of people, close planes drenched in smoke and jazz, monotonously snowy whites of surfaces, unlimited vistas divided with a chaotic line of mountain ranges. Biography becomes filled with the smell of turpentine of painters studios, with the stench of emigrants digs in New York City and Paris, and with the breath of the glamorous avenues of the world's metropolises. Among all this mess there is a place for Zakopane, which in this biographical journey is an emotional compass point for the unfound whole. The sense of Marek Szczesny's art and life eludes discourse. Biography returns to the beginning which cannot be expressed with words. He believes that the circle of observation, reflection, impressions and expression, in other words of existence and experience can be completed neither by human life nor by artistic creation. Subject to ethical scrutiny, this is a constant circulation between myth, truth, deception, insatiability, pursuit, abandonment, discovery, uncertainty and doubt.Extract from “Marek Szczesny” by Andrzej Turowski, National Museum of Poznan, 2003