In an effort to describe the process of the breakdown of the concept’s integrity – the fluidity of Time as such – the artist finds himself on the fine line between the pure realism of the image and free-flowing abstraction. In practice, it is about the application of an original and felicitous technique that has become Plusch’s calling card – his canvases can always be recognised by the portrait silhouettes that are escaping impetuously from the paint layer. Unlike César’s famous coulées, in which paint sluggishly and thickly flows downwards by itself, the paint in Plusch’s canvases seems to be blown away by a powerful, invisible vortex – like water from the windshield of a racing bolide. The idea-bolide bursts into reality that transforms it in its own way, changes it according to its own rules and inevitably destroys it. The collision occurs against the backdrop of an ordinary landscape, a quiet and calm “picture of reality”. The latter is omnipresent, no matter where you look, it does not hide and is always with you. However, it is impossible to capture it and, if you look closely, you can see the fake cardboard pictures of prosperity (Potemkin villages) erected all around you. However, what is left on the canvas is the trail of the motley everyday squall, in which the impersonal-Media is mixed with the human, all-too-human.

The wind, squall – a striking image of the material world where the picture ends up – is swift, tenacious and persistent in its skilful presentation of an artwork for its own benefit. Plusch creates inside-out art – the picture has already been created by the vortexes of this world, and any apparently artificial realities on its surface are namely the genuine ghosts of our day.

The wind is just a crude means, a banal metaphor. Both in Art and in life, form embodies idea only for a while, and that is why the destruction of the form outwardly looks completely harmless. But only outwardly... Formalism always opposes individuality with its basic human values – for when revealing the typology of form, its spiritual content is lost.

The wind creating the picture is the starting point and the subject of artistic analysis. In his new series, Plusch shows that there are many more levels of understanding and approach to reality than anyone would care to imagine. “Before the Rooster Crows” turns an artistic device into an instrument of socio-political criticism. Suddenly it becomes clear that the genuinely real are only those vortexes of media-streams which create everything: it is namely they that direct, order, instruct, vote and count the votes. This unique series, presented to the public at the beginning of 2012, aimed to capture the crucial historical moment of the obliteration of form on the scale of a vast democratic country. Plusch does not obscure boundaries or distort reality. With an artist’s uncompromising confidence, he portrays the shells of modern individuals, obliterated by mass culture and the various Mass Media, by the massive hecatombs and the mass programme to increase the birth rate, by the faith in justice and the ultimate truth heard first-hand. Is it still possible, before it’s too late, “before the third cockcrow”, to refuse, to cast off that gloom of the circulating conceptual wind of change?