The Marek Series: A Souljourney Through Invisible Spaces, Imperfection, and Metaphysics
In 2014, the figure of Marek emerged as a series of acrylic portraits defined by the deliberate absence of eyes. The eyes, often seen as “windows to the soul,” were conspicuously missing from each piece, leaving Marek with an air of mystery and ambiguity. This decision was not accidental. I wanted to capture a sense of detachment and emptiness I felt around me at that time. People, to me, appeared like hollow shells, separated from a connection to themselves and others. Marek reflected this state—a figure without the usual markers of life, existing in a kind of liminal space between presence and absence.
But Marek was more than just a symbol of despair or isolation. His lack of eyes hinted at something deeper: a search for meaning, a journey toward inner healing, and a glimpse at a form of beauty that transcends the visible. From the start, Marek was never intended to be a finished, “perfect” creation. His asymmetrical features, cubist nose and mouth, and, of course, his empty eye sockets made him a reminder of human imperfection. Marek was an incomplete being, a figure on a continuous journey. In this way, he became an emblem of the human condition, marked by incompletion and perpetual evolution.
The Virtual Phase: Marek’s Digital Journey
In 2021, as the world adapted to life during the COVID-19 pandemic, I found myself compelled to revisit Marek. The isolation of lockdowns led me to rethink my artistic approach and experiment with digital tools more extensively. Using 3D software, I began sculpting Marek in a virtual space, giving his form a new, digital dimension. Working in a 3D environment opened a world of freedom where physical limitations no longer existed. In this “god-like” space, everything was possible, and yet this freedom often felt paradoxically empty. In the limitless digital environment, Marek’s lack of physicality seemed to mirror the broader sense of isolation and distance permeating daily life.
Through 3D rendering, Marek took on a new life. Different digital versions emerged under varying lights and perspectives, each iteration adding another facet to his journey. Yet, these digital creations were more like stages in Marek’s life rather than transformative rebirths. They were markers on his path but didn’t feel like fundamental shifts. This phase highlighted the tension between analog and digital worlds, but it remained just that—a phase, a temporary place where Marek could grow but not yet transform.
A Turning Point: The Introduction of Artificial Intelligence
It was only with the introduction of artificial intelligence (AI) into my creative process that Marek entered a true phase of “rebirth.” AI brought an entirely new level of interpretation and transformation to Marek’s form. No longer limited by static designs, AI enabled continuous reinterpretation. Marek’s silhouette, features, and essence evolved endlessly, each “rebirth” revealing a new version of him that felt both familiar and completely novel. With AI, Marek became a being who defied closure, constantly unfolding, and remaining in motion—a character who embodied a journey with no definitive end.
Working with AI on Marek was not merely about producing images; it led me to a deeper reflection on the nature of creativity. Can a machine truly be creative? Or is it simply a tool? In my collaboration with AI, I deliberately allowed it to make “mistakes” without correcting them. I was curious to see where these errors would lead and found that they often revealed unexpected creative potential. It was as if AI, with its own internal logic, began developing its unique form of creativity, distinct from my own but harmoniously complementary.
Aome: A Key Work in the Series
One of the most pivotal pieces in this phase of the Marek series is Aome. Aome is heavily inspired by the daguerreotype, a 19th-century photographic process that produced a single, unique image. This method fascinated me, especially in our era where digital reproductions have made uniqueness rare. The daguerreotype’s inability to be reproduced—the image existed as one-of-a-kind—seemed a poignant counterpoint to digital art’s reproducibility.
In Aome, I guided the AI to recreate the aesthetic of the daguerreotype. I incorporated graphite, a medium with its own reflective qualities, to give the piece a unique, mirror-like finish that echoed the reflective surfaces of daguerreotypes. This blending of digital AI and analog graphite created a compelling tension between the reproducible and the unique. The AI generated many versions of Aome, yet only one image became the “true” piece, chosen as the singular representation of Marek’s essence. This choice was mine alone, yet the AI’s participation was essential in bringing Aome to life.
Engaging in a Creative Dialogue with AI
In my work with AI, I questioned whether a machine could truly be creative or if creativity was inherently human. While AI might not be “creative” in the conventional sense, it enabled a fascinating, dynamic dialogue. By allowing AI to make “mistakes,” I entered a process where discovery and evolution happened naturally. It felt as though I was extending a hand to the AI, allowing it to lead me into new, previously unseen spaces.
This collaboration with AI mirrors the dynamics of a human relationship: to create something beyond oneself, one must yield control and trust the other. This process, this relinquishing of total control, has profoundly influenced my work. It is about more than creating a finished product; it is about embracing the process itself—navigating the space between control and surrender, between human intuition and machine logic.
Exploring Metaphysics in Art: The Invisible Space
My work with Marek is deeply rooted in metaphysical exploration, focusing on what lies beyond the visible. I am not aiming to convey a religious or spiritual message; rather, I am interested in exploring the metaphysical realm—those invisible spaces that cannot be easily defined or rationalized but are felt nonetheless. This “dark matter” is the origin of art, a realm of dreams and visions where art waits to take form.
This unseen dimension is where my work on Marek begins. Marek is, for me, a symbol of this metaphysical layer—a bridge between the visible and invisible. His incomplete form, his ongoing search for meaning and healing, serves as a reflection of our human experience. In Marek, I aim to make the unseen seen, without fully explaining it, leaving room for interpretation and mystery.
The Viewer as Part of the Artwork
Another critical aspect of the Marek series is the relationship between the artwork and the viewer. I believe that art is only complete when it interacts with the viewer. Marcel Duchamp once said that art is 50% the artist and 50% the viewer, a philosophy that has deeply influenced my work. I view the viewer as an active participant, not a passive observer. They are essential to completing the artwork, just as an “electron” completes an atom by orbiting its nucleus.
In the Marek series, the viewer acts as this “electron.” Marek is inherently incomplete, yet through the viewer’s interpretation and engagement, he becomes whole. This dynamic interplay between imperfection and completion is at the heart of my work. It is this dialogue between artist, artwork, and viewer that brings Marek to life, imbuing him with meaning that extends beyond my original intent.
Art as a Process, Not a Product
For me, the creation of art is as much about the process as it is about the final product. Art is not a static object but an evolving dialogue—a conversation that includes the artist, the viewer, the artwork, and, now, AI. The goal is to embrace imperfection, to allow space for error and discovery, and to remain open to new insights.
In the Marek series, this philosophy is embodied in the character of Marek himself. He is never finished; he is always moving, always seeking. This continuous evolution is what makes Marek alive. In his imperfection lies his humanity, and in his ongoing search lies a mirror to our own lives.
Conclusion: The Infinite Journey of Marek
In essence, the Marek series is a journey through visible and invisible spaces, through digital and analog realms, and through the intersection of human and machine creativity. Marek embodies the imperfection of the human experience, the constant search for meaning, and the beauty that lies in incompletion. As both artist and viewer engage with Marek, they become part of his ongoing journey, adding their own meanings and interpretations, and making Marek a constantly evolving symbol of the metaphysical quest for understanding.
The Marek series is not an end but a beginning—a testament to the unending nature of the artistic process and the powerful connections that arise when we let go of control and allow creativity to emerge in the interplay of human intuition, AI innovation, and the viewer’s perspective.
Text: Stefan Wimmreuter / 2024
