Marek Ormandik likes to paint with a wide brush stroke. It is obvious to everyone who knows his work and therefore it does not have to be examined in more detail. But, and that’s a good question, why is he always painting in a wide brush stroke? Is it just a pose to guarantee that his painting is sufficiently original or is there something else in the matter? It is certainly not a pose, so we definitely need a wider interpretation.
When we look at Ormandik’s paintings, everywhere we can easily find human figure and it does not matter whether they have sacred or profane themes. It is amazing how urgent these figures seem to the viewer. Sometimes even so intense that you will realize, after a short time, that you simply do not notice the background. The usual balance between the background and the front is in this case asymmetrically distorted in favor of figures standing in the front. Individual figures determine the center of perception, and in this uncompromising way, it is necessary to look for the specificity of this painting idiolect.