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Notable Quotes

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Le Roche Guyon 50" x 60" oil on linen
 

"I had the idea that I could look at the landscape and get lost in it, and maybe find myself."  Carl Plansky

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Plansky’s paintings of figures are smart hybrids of refined 19th century academic figure studies with portraits documenting the very genesis of human life. Limbs posed in classic stances are at once liquid and solid, seemingly unsure if they are supposed to remain flesh or dissolve and transmute into another state of being. With these paintings, Plansky shows us in a very visceral manner how the body is strong, sensual, handsomely proportioned and pleasing to the eye, and yet is forever destined to rot, decay and cease to be. It’s a beautiful, if slightly melancholic, challenge to the viewer to fully occupy and enjoy their corporeal selves, and by extension to fully embrace their day-to-day existence.    Brice Brown

Plansky may never be content with giving us a straight-ahead reclining nude or a rose in a vase; or with conveying the idyllic or the pastoral in his paintings.  His flowers can feel like monsters or severed limbs. And his trees can resemble lightning bolts or crucifixions. Yet he convinces us of his excitement before the motif not because we so forcefully feel the artist’s hand, which we do, but because the paintings reconnect us with light, air, and wind – with the various range of experiences we can feel when we stand before a vase of flowers, a grouping of trees, or in the nakedness of our own skins.  Lance Esplund, July 2004

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For Plansky, color is never merely descriptive; it is a whirlwind, whiplash, hell of a ride.Sheer physicality--of color, of violent strokes--is the first experience one has when confronted with Plansky's larger-than-life-size flower paintings. I sense that the artist concerns himself with tearing down his compositions as much as with building them up. There is always a tumult beneath the surface.  Art in America  October 2003  by Lance Esplund

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