Marck does not follow the traditional video aesthetic, which is characterized by video installations or beamer projections in darkened rooms. He integrates the moving video image into three-dimensional sculptures and objects. For his works he takes apart monitors and builds them into sculptures. He transforms the two-dimensional surface on which the moving image is played into three-dimensionality, creating a “video sculpture.” In the process, the boundary between the real object and the recording often becomes blurred; they merge fluidly into one another.
Marck’s videos don’t show a story, but the action can be grasped quickly and repeats itself in a loop. A person brings a glass of water to his mouth and spits it into a tube that comes out of the screen and lets real water bubble out. A woman swims in a pool, working against a counter-current (“Gegenstrom”). Like paintings, Marck’s video sculptures allow us to generalize and associate deeper levels: People expelling water become fountain figures and at the same time make us think of the permanent “output” of modern people. The person in the countercurrent pool becomes a parable for the constant work in life, the permanent struggle with resistance or the inner “pig dog”. Marck’s works cast a spell over our visitors. He is represented in the collection of the ZKM in Karlsruhe, among others.