The style of Marek Żuławski is easily recognisable. It distinguishes itself by a premise similar to that of wall painting - a restraint, conciseness and frugality of composition, which together with a sophisticated colour communicates a form of painterly vision. The essence of the vision is pervaded by humanism. Most often, it is demonstrated by a human character - a monumental, Olympic image of man, a picture of human condition. The entirety is an original, thoroughly individual concept of artistic creativity, which seems to communicate with the viewer in a language of philosophical debate.

For Marek Żuławski, the figure of a human being is a prominent theme, mainly because the artist finds him magnificent and virtuous. The characters in his paintings are connected by a relatedness of the form, universality of issues, and finally, a typical ascetic atmosphere, which enables diverse interpretation. Żuławski shapes the framework of contemporary mythology. His canvas present scenes resembling classical tragedies. He becomes a philosopher of history.

If we were to discuss these paintings as metaphysical, religious or ethical debates, it would be impossible to avoid the impression that they are unfinished works, or rather incomplete, contributory. However, in the epic world of Marek Żuławski's painting, these words take on a different meaning than their usual definitions. Żuławski belongs to a group of artists, whose efforts concentrate on formulating and complicating a problem, as opposed to solving it. In essence, all of his works reiterate the same question through various elements, elaborating on a once assumed idea. Their plot does not advance forward; instead, it rotates in place and constantly returns to the starting point. The content of these works is an endless contemplation of how to achieve what is unattainable for humans.

When observing Marek Żuławski's paintings from this perspective, the viewer is forced to strain his attention. He must not so much 'read' as 'interpret' his message by guessing through the code of metaphors. The artist's paintings, containing fewer and fewer elements of epic narration with the passing of time, produce a world full of metaphors with symbolic shapes. It is possible to detect a transformation in style which, in the beginning, takes on a narrative quality and, later, turns into a characteristic discourse, almost similar to monologue. Żuławski continues to return to the starting point.

However, it is not necessary to discuss Marek Żuławski's paintings as if speaking about philosophical debates. His paintings are not treatises concerning metaphysical, religious or ethical problems, but they are a result of a painter's work. To those who simply enjoy painting, who possess the willingness to accept what the painter offers without questioning or expecting intellectual or moral effects, Żuławski's works will deliver answers to any sought-after question using their own language. This is the great strength of the artist.

Jarosław Koźmiński (London)
Translation Marta Sobieszek

In March 2004, Maryla Żuławska presented eight oil paintings of Marek Żuławski to the Nicolaus Copernicus University Library in Toruń, intended for the Archives of Polish Emigration and the future University Museum.

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