SELF-EXHIBITIONS IN LAST 10 YEARS:
- 2016 Gallery “Kunstsalon Villa Artista”, Hanover, Germany
- 2016 “Imprints”, Pop-up Art Gallery, Riga, Latvia
- 2015 ”Intro”, Pop-up Art Gallery, Riga, Latvia
- 2014 Gallery Birkenfelds, Riga, Latvia
- 2014 ”Piano Cycle for Chess”, Gallery LE84, Paris, France
- 2012 ”Piano Cycle”, Gallery Birkenfelds, Riga, Latvia
- 2011 Gallery Pegazs, Riga, Latvia
- 2011 Galerie 91, Paris, France
- 2010 Gallery Promenade, Liepaja, Latvia
- 2009 Galery Birkenfelds, Riga, Latvia
- 2009 Gallery Laipa, Valmiera, Latvia
- 2009 Galerie 91, Paris, France
- 2008 “Creativity”, DJG, Munich, Germany
- 2008 „Recent works”, Gallery Birkenfelds, Riga, Latvia
- 2007 Galerie 91, Paris, France
- 2007 „Lights and darks”, Gallery Birkenfelds, Riga, Latvia
The extraordinary career of Mareks is unlike that of any other Latvian artist.
His first public appearance on the art scene was together with the female artist Juta Policja. At the present time he is completely independent and reveals his own artistic characteristic features, along with self-exploration and creation of true art paintings.
Mareks belongs to the circle of painters who are searching for pure aesthetics, and his artworks are the anthem to the picturesque. Just like aesthetes from the 18th century who went looking for the authentic scenic essence in the landscape, so as well Mareks through colour and painting technique unfolds the essential features.
Even though his key means of expression are the paints, the composition is not only a pure abstraction. Main themes of his works are pianos, Greek amphorae with cogwheels, chess pieces and boards – these can be considered as the main symbolic and expressional focal points. We could consider that life is like a chess board with pawns and the royal couple playing strategic games, however that is not what Mareks wants to express.
Surprisingly, filigree virtuosity with which the paintings surfaces are conjured, evokes once Derived Aristotelian catharsis, which is experienced by artist at the moment of creation. Themes with their rhythm and decorative nature are only secondary in this artistic play therefore giving way to colours.
The delicate finished surface factures, glazing’s and drippings for some audience most likely will not be viewed as impulse induced; however, the shiny boldness, such as throwing the Greek vases in vibrations similar to a rave party, is the evidence of the artistic and creative freedom searched by so many of us. Aesthetic games with the surface of the painting are nothing new, yet only few make beyond the border which distinguishes the art of painting from the painter sample catalogue.