If photos are not understood only as a document and documentation tool, but rather as a creative medium, we can look in the iconography of Marko Lipuš quite heterogeneous bits. However, this variety of particular series of his photographic oeuvre does not mean wandering through the expression and finding the right, corresponding and appropriate framework, which would in a direct approach replace the content, but the joy of browsing – joie de bricoler – through drawers of his own interests and transferring of the outside world into the space of intimacy. In this is a catch of his performance that extends from the personal, which is of course in the first place, and playful to a critical and social, as well as indignantly sharp to soft lyrical.
In any case, Lipuš’s photos that connects the individual elements into a coherent artistic confession, set a realistic reminiscence of our world, even if he’s often layering other visual elements into them, when he paints, collages, montages them. Some he even lets to share their stories alone through a game of light and shadows, which actors are either living people or processed, repainted pseudo-comic figures, and sometimes even dolls and models, toys that in their severity express truly haunting image through the amazing photographic print and creepy point out what the toys stores offer to our children. With this work acquires attribute of a conductor, which tension shakes us and not releases, and translator, which exposes our sloppiness to us, of course, if we also acknowledge it to ourselves.
By looking at the Marko’s pictures we consequently discern their message and fine artistry, their formal and compositional aspect and content and their materiality and metaphoricality. By looking into their world, we instantly ask ourselves about our reality in the world of virtuality, or perhaps we even become aware of our virtuality in one’s reality, helplessness of individual, who is first individually locked into something called social links, and then delusions of wider society that is as haunted hanging on threads and can not see or just refuses to see are shown , since with each new jitter marionette puppeteers are only further tightening it since the show must continue, whether it is called in any way and whether it bears any title.
Because, names, definitions, declarations that makers always come up with at the daily treadmill are precisely the cage in which we are locked when they are constantly changing subject and at the same time object of the discussion. We must be kept in virtual reality, as opposability, real virtuality would be too dangerous for the ruling and for anyone who would let it, could be fatal. But then, Marko Lipuš is walking on this terrain, he walks along the path of real virtuality within which he reveals delusions of the civilisation today. These delusions are not innocent processes of creating some kind of objects for common use or just toys for young, from which grows big, but the operating principles, which clearly uncovers constellation of social relationships, relations between puppeteers and puppets.
When we try to understand the narration of Lipuš’s photos, we need to look beyond their form and external dimension. The diversity of his terminology can be comprehended in understanding of their internal relationships, in the feeling of their dynamics. Even, perhaps after a speech on the engagement of these works is to write about feelings for someone even questionable, it is necessary to emphasize this aspect of his work. Intimacy is through moments all time crawling at the pictures, it is present everywhere: in the choice of motifs, the use of light, color entry, the decision of the themes , pledge for a cycle or series, and even in the selected scope – portrait, figure, collage etc. – and on the ground – in the studio, inside, outside – from which arise single images and draw after our perceptions to the basis of our feelings.
Right in the integration of diverse worlds, the diversity of procedures disclosed in uniform and unique creation of imagery. However, there is also a catch that can be called “Lipuš’s turn”, when we realize that the proverbial diversity is actually mask clamped to us by “puppeteers” while they’re making and selling always the same thing. Therefore is art and therefore we can understand creative processes of Marko Lipuš as detaching these masks, what is even more clear when he actually covers photographed face with it and sets a figure into the world of animation, he hides it among equals, among its similars. In this is something tribal, like only covered, obscured face is the one which gives the right image, which allows human to be, to show up, to express, to feel and sympathize, to exist.
When we catch an eye on such photo, which is sometimes chipped, sliced, to be able to demonstrate in the nakedness of its own media its players to their flesh, their bloody torn, that does not detract them from themselves, and secondly it occurs with grotesque, drawn facial mimics, in the same way frozen in time like a photograph without any intervention, we first ask ourselves what we see, an image of the photographed or a photograph of an image. And if we – past consideration of the aestheticisation of form and reflection of symbolisation of content – are flashed by such doubt, we are on the good track, especially when we realize that we have stepped onto it completely accidentally and unintentionally, in short, instantaneously and intuitively: in this character Marko will be subtly spotted.
60 x 60 cm | Edition of 5 + 2 a.p. | C-Print