The complex and layered poetics is one of the striking features of Marko Kusmuk’s work. Equally effective in both small and large formats, Kusmuk uses a rich painterly vocabulary to portray timeless themes from an emphasized internal perspective. Subconscious layers and images stored in memory—what is embedded within—are transposed by the artist into the world of the visible and apparent, through instinctive and sensory manifestation. The central motif that captivates Kusmuk is the human being—visually supported by each of the displayed works, which are portraits (un)realistic in nature to varying degrees. The question arises: how to approach such a significant and vast theme as humanity and distill hundreds of emotions woven into a single face. The primary tool the artist uses to convey emotions is the line. It is where everything starts; it is the base of every sustainable structure and a marker of artistic skill. For this reason, Kusmuk often leaves the line visible, artistically searching for a balance that arises from the "opposition" of completed and unfinished, hyper-realistic and expressive, organic and inorganic. Alongside the harmony built from diverse elements, Kusmuk adds perhaps his greatest skill—addressing (everyday) problems of contemporary man without abandoning traditional imagery. The painting does not fade; it remains very much present, and the themes are close to each of us. He combines experiences and influences, initiating a new cycle in which the artist, the artwork, and the observer participate, and which, through their combined energies, re-describes circles full of new meanings of art as a visual concretization of accumulated thoughts. By frequently employing various techniques, Kusmuk builds a layered image using transparencies, while simultaneously maintaining it as a whole that is not confined by a frame but freely occupies space. The technique of combining different elements was also applied in selecting works for the exhibition States, merging heterogeneous appearances into a unified whole characterized by completely depersonalized faces, almost inhuman traits, and very anatomically and characteristically specific depictions of faces. At first glance, Kusmuk’s works evoke fear, a need for questioning, and a critical examination of reality. Immediately thereafter, one notices that it is a depiction of pure emotion—the essence of humanity—which reaches its best visual form through illustrating self-awareness. Thus, within the fear we feel lies hope that one day, things must get better, while the emotion undergoes a metamorphosis from despair to optimism, serving as a driving force. To seek meaning and essence is to search for something eternal that permeates humanity throughout all stages of existence and all states of struggle leading to (self)awareness.
Selena Andrić
Photographers: Vladimir Popović, Nolens Volens