Carnival Vertigo in the Work of Truman Marquez / by Truman Marquez


It's hard to get a Truman Marquez image out of your mind. A Truman Marquez painting essentially speaking is meant to resist comprehension. Yet it comes out at you frenzied. It pummels you, it cajoles, you, an it tumbles along, happily assuming its roly-poly poses. Notwithstanding the veneer of Marquez's aggressively surrealistic, vertiginous, fun-house atmosphere that confronts the viewer in the preliminary stages of beholding the work at hand over time something haunting, even unsettling, permeates the work. This is the result of the artist's highly sophisticated pictorial intelligence, which recognizes the value of indicating spatio-temporal involutions reminiscent on some level of the teasing work of Escher's in order to draw the eye and the mind to the space of possibility that can only be aroused by enigma and paradox.

The artist's overall idealogical ambition is to frame philosophical issues, which obviously compel him. These are set within an order of the mind intent on circulating questions around the designations of sameness and difference, separateness and integrated ness, volition and the involuntary, destiny and fate. The artist is compelled by the presence of emerging (or emergent) energy; his intention is to bring into visual play visual analogies that refer to the affects of causality, as well as to the condition of dependence/interdependence/independence and to human agency itself.


In Moral Divide, for example the artist magnet to incorporate the sensation of game-like space being co-habituated by floating globe-like structures. Their sieve-like opening s allow us to peer within each sphere into a private domain. Depictions of books, gravity-less, hint at the insinuation of culture gone mad, of rationality now viewed as irrelevant and incidental as tumbleweed whirling through ghost towns of yore, while natural laws are held in abeyance. This is a tough work, as it seems to be intent in depicting interior frames minds, caught adrift. It is work, which welcomes uncertainty and approves of unpredictability. It is a topsy-turvy, gravity-less world, which is depicted. The sensations of floating, separating, permeable membranes, evoke the anxiety-ridden condition of being adrift in an ocean of time-space. This is depicted as exhilarating on one level yet one is clearly open in terms of being seen, open to the judgments of others. In some way Hold the Emperor Accountable deals a bit with this theme: the notion of exiting our everyday world and entering a continuum of non-separation from the thing around us, being those things and those thing being us.

In this image Truman Marquez allows us entry into a vision that signals the emergence of a new world. This work has internal words within it obvious for all to see, yet these internal folds in time and space are co-existent and self-contradictory, simultaneously. Marquez implies not only that the spatial body is dynamic and that this dynamic is the very condition which allows the world to become manifest in and through consciousness. In a board sense Marquez depicts a determinate world where objects can begin to co-exist simultaneously. The artist teases out another riddle from this presupposition. He seems to be questioning the very condition of dynamic spatiality and effect on the body. Here I use the body in both its narrowest and its widest sense; body of being, human body, body of mind, space, thought, time, etc. Is the body in control of its own physical destiny (or determination)? And if so how are we to picture the indeterminate horizons (both internal and eternal in the sense of physiological and in terms of outside stimuli) which signal to becoming manifest to us that the world is emerging.