The god of art of Madeira - Marcos Milewski
When I first came to Art Center Caravel , as a volunteer to present to people the art that is exposed there, it was certainly not easy for me to remember and research well the artists who entrusted their works to us. But the first thing I remembered and my favorite works remained , were the works of Professor Marcos. For me, Marcos has a particularly recognizable style and emotion in his works that is not often encountered. Visitors to our gallery, when asked what left the biggest impression on them, most of them answer: works of Marcos.
How and when started your painting story ? Marcos: It’s always been my reality, I’ve painted since I was a child – I had an aunt from Poland who came and taught me to paint watercolours, I was 8 years old. Then, when I was 13, I met a painter who became my painting master, which is now called Sovieta, which still today I keep in touch with and have a friendship, over the internet ... I am from Argentina, so it was in my hometown - Cordoba, and that's it, it was in this environment that my desire to paint began and started to learn the techniques.
You’re also teaching young artists, as I heard..you’re giving lessons, you’re a professor?
Marcos: Ahh yes, I have a painting studio - which is my studio where I paint and once a week I receive people who want to paint. For an afternoon, usually on Tuesdays, it’s for those who want to come paint and draw and talk about art.
In Funchal, we can see lot of murals madey by you..do you remember how much you have? Marcos: Yes - some in the city, others in hotels, restaurants, as you are saying ... and also, in certain cases, in a space there is not only one mural, there’s a series - they appear ... I made the buses at the company Rodoeste - we painted old buses - there are several, so there are several murals in one space.
You have a recognizable style and what I find really interesting is the girl in your paintings – please tell me more, who’s that girl? Why’s she always in your paintings?
Marcos: Ahhh… yes… I don't know… it’s something that doesn’t… we don’t think much about… I always like to put a… for example, I painted the whale and the human being counterpoint - a big animal with a person , a girl - because we already know ... the relative scale: 1m50 - 2m for a person and what a whale is; the same for the bus, the same for everything: the human being is a way of ... the reality of measurement.
Where do you find your inspiration, and where do you prefer to paint?
Marcos: I think it's very relative, I get inspired by life, in sleep ... and also from the place around the murals, the place where it's going to be painted is very important - what looks good on a specific wall will be very different than another. Thinking about the whale, it had a lot to do with the cars that come from a tunnel, that can see that perspective, the size of the wall, the location of the city is also close to the sea - 1km or so - I think there are always several factors that condition in the case of the mural. In the case of paintings, it’s like this ... the human element, female, but it is ... I don't think much about these matters.
Why you chose Madeira to work and to live in? Marcos: Life situations that got us here. I was living in France, in Paris and met Celina , my wife, who is from Madeira, we came here, we stayed and that’s it. We didn’t give it much thought and now 30 years have already passed.
Is there young artists in Madeira that you know and you think will become as successful as you?
Marcos: I have no perception of that ... I just paint and that’s it ... if that has an impact on others it is something that kind of escapes me.
And for the end, what would you recommend to the young artists?
Marcos: Several things ... if you like to dedicate yourself with your heart for a long time, it takes a lot of effort. I think that’s part of the reason for wanting to do this, it’s the main thing. It's like everything, we have to really like it ... and then, Two: having good tools, that and technique. And Three: to study a lot of art history and also of what is being done in contemporary art – in both - what was done centuries ago, what is being done now - because it gives a perception of what art is, many people are in the their corner, painting their little painting, but they don’t see - what they’re doing - in relation to everything else ... for example, if we do a painting and it has a connection with… I don’t know… with [Pablo] Picasso, with [Salvador] Dalí, with [René] Magritte, this type of chain of connections is very important to grow. If we have a connection with Magritte, for example, but we don't know who Magritte is because we’ve never studied him, it is an impoverishment ... so, studying a lot in terms of technique but also in terms of concept, art history and what’s happening now in art - what is happening in the world now and what happened centuries ago. Our mind opens.
Veronika Zhezhovska 12.01.2021