NADA New York 2024

The unspoiled beach in Marko’s paintings, however, rather than figuring as an object of desire, is primarily the implied site of a viewing subject: here the fantasy island image is reversed to face the wreckage of past or portentous collapse. The perspective seems to belong, not to one expelled from paradise, but to whom has accidentally fallen into it. If uncertainty, foreboding, and perilousness pervade these works—so, too, does the pleasure of voyeuristic detachment. Meanwhile, what dread as befits a horizon of disaster is dampened and ultimately gives way to the supreme, penetrating power of oceanic serenity.