It is hard to get a Truman Marquez image out of your mind. A Truman Marquez painting essentially speaking is meant to resist comprehension. Yet it comes out at you frenzied. It pummels you, it cajoles you, and it tumbles along, happily assuming its roly-poly poses. Notwithstanding the veneer of Marquez’s aggressively surrealistic, vertiginous, fun-house atmosphere that confronts the viewer in the preliminary stages of beholding the work at hand over time something haunting, even unsettling, permeates the work.

By D.F.Coleman © 2006 New York, New York


Ed McCormack, editor-in-chief Gallery and Studio – New York, NY (2001)

It is always heartening to watch a gifted artist come into possession of his full powers, as has been the case over the last half decade with the Texas painter, Truman Marquez, whose progress this writer has been monitoring since 1997, when Marquez first became a formidable presence on the New York exhibition scene. From the beginning, Marquez has displayed an ambition as large as the state he hails from and a vision to match. But in order to trace his trajectory to the triumph of the present moment it behooves one to take a brief glance backward and examine some of his sources.

First, it is important to acknowledge Marquez is a consummately sophisticated painter, steeped in the traditions of modernism, yet irreverent enough to take poetic liberties in order to forge his own postmodern path throughout the thicket of art history.For More click on link

, Performance Piece, New York, NY  “DADA REVISITED” (2006)