Marek gets in his car or on his bicycle and transports himself to his studio. From Bratislava’s wider downtown to the outskirts of a nearby town where his atelier sits, on the edge of the forest, at the end of a road. This journey is a moment of initiation, a psychological method, a purgation by which Marek rids himself of existential concerns, clears his mind and begins a transformation from a mere mortal into an Artist (Marek Maker). The further he is from home, the more his superpowers seethe inside him.
By entering his studio (apparatus), the transformation is complete. His studio is a black box – in the cybernetic sense of the term. We know the input and the output, but we have no idea of what goes on inside. And we never will know, because intruding on this space would disturb his processes. Just like in quantum physics, where the observer influences the observed. Indeed, visitors are welcome in the studio, but never while an artwork is being created. So if Marek paints during a musical-artistic performance (such as his project Hrana), it is a faithful reproduction but nonetheless a theatrical show.
In this case, the picture is not the work of art – the whole situation is. And so in the end, the image usually ends up covered in black paint. Marek always paints his real pictures alone. The process is inarticulate. Flashing rapidly, the conscious, the unconscious, the subconscious, fact, fiction, composition, mythology, colours, surfaces, lines, strokes, physics and magic - all these are involved. Everything crashes together, correcting and negating each other. The process is generally very brief and ends abruptly. Its results are archetypes and apocrypha.