Marek Szyler could be considered a global citizen; he has spent much of his life travelling around Europe and has chosen to settle here in Australia. He is a father, a teacher, an artist and many other things besides.  I have had on occasion the pleasure of sharing a painting studio with Marek and have found him to be a charming, erudite and complex individual. But how does Marek Szyler view himself? What is it that contributes to his perception of his identity?

POLY(P)TYCH  is Szyler’s attempt to answer these and other questions pertaining to the politics of identity.  Szyler’s artist statement informs us  “It is within this dialogue, between that conceptual and material space, interpreted through the use of my own body as model, that I seek to simultaneously celebrate and question those factors within my lived experience, which continue to confuse and exhilarate, and which are fundamental within the discourse of Self.”

My question upon viewing this exhibition was “Has Marek bitten off more than he can chew with this?” Exploring identity, especially one’s own, is a brave undertaking. There are so many traps to ensnare even the most  seasoned artist. Szyler’s paintings predominantly represent himself, or to be quite honest, his torso. On viewing them I had difficulty attaching the concept of identity to them. The problem I found was that although as fine representations as they were, they told me little of who Marek is, and what he might be saying about himself. Granted, they are a strong testament to Szyler’s graphic skill at capturing a two dimensional likeness of his own gaunt anatomy. They are also indicative of his love of, and competent ability in, chiaroscuro. However the bulk of the paintings in this exhibition speak more of an eager dystopian narcissism than shedding any real illumination on how the viewer might better understand this artist and his goals.  Down, even to the highly reflective glazing upon many of the paintings, the viewer is forced to see the painting at arm’s length as Szyler puts yet another barrier between us and him.

I was relieved to find exceptions to Szyler’s brooding introspection in the form of his painting of his VW Combi  van, entitled “Nandu” referring to a vehicle of the gods. Szyler’s portrait of his great lumbering Volkswagen is both beautifully painted and pithily humourous. Here the viewer is treated to the Marek Szyler whose company I often enjoy, with intelligence and gentle humour. His depth of knowledge of his medium is also at its strongest here, where I believe it is lacking in some of his torso paintings.

Poly (p) tych is another winner; the title piece for this exhibition shows many of the influences in Szyler’s life that could possibly inform his identity. Set against a montage of familiar landscapes, the viewer is offered a god’s eye view of a plethora of cultural identities, from riot police to the Pope, track suited John Howard to Bob Marley, Szyler has incorporated a mass portrait of both celebrities and family members in great detail. Reminiscent of Californian star studded murals, this painting actually has greater reference to Jan Van Eyck's alter painting The Adoration of the Lamb, from which Szyler intentionally based the composition.

If the viewer looks carefully in the right hand panel they will find perhaps the most poignant and honest reflection of Marek Szyler’s identity. There amongst the multiple self portraits are two figures, the purposeful and giant Marek of the present, confidently striding forth, and the frail and aged future Marek being aided by his children through his final years.

 Perhaps it is wrong for myself as the viewer to privilege the more secret and hidden aspects of Szyler’s exploration of his identity, when he has shown so much more of the darkly romantic view of himself from Martyr to Saint. But in my opinion the success of this exhibition lies not in its technical proficiency or its grandiose scale, but in those honest glimpses of the deeply private artist that in many cases I don’t think were altogether intentional.