Audrius V. Plioplys. Neuronų simfonija.
2004, skaitmeninė spauda, archyviniai dažai, drobė, 137,2x366
Audrius V. Plioplys. Kolumbo pėdomis.
2004, skaitmeninė spauda, archyviniai dažai, drobė, 137,2x183
Audrius V. Plioplys. Šiaurinė balta
grėsmė. 2004, skaitmeninė spauda, archyviniai dažai, drobė,
V. Plioplys: Visual Metaphors for the Mind
appearance of Audrius V. Plioplys, Chicago based Lithuanian artist, at
the Tallinn Print Triennial and his personal exhibition in Lithuania
this autumn was refreshing for the regional art scene. For almost
fifteen years, Plioplys has been working to connect two important for
his career fields: neurobiology-neurology and visual arts. As an
artist, he has explored different mediums, painting, photography,
installation and land art. The work he showed in Lithuania represents
large-scale digital images (in Adobe Photoshop) printed on canvas.
According to the artist, he was the first to use ink-jet printer for
large scale art work. Whatever the medium, Plioplys has always been a
conceptual artist: his works are visual metaphors that emerge based on
his analysis of ideas, concepts and philosophy. The two realms of his
activity (earlier, he had perceived them as conflicting) are
reconnected through his research into human consciousness, thoughts and
human nature in general. These processes, in scientific perspective,
are determined by the interaction of the myriads of neurons in the
human brain. In some of his works, the artist has transformed the
natural photographic images, covering them by different colour layers,
in a way analogous to neurobiological processes that transform visual
memories for storage in the human brain. In his Neurotheology series Plioplys has
used six colours (many of his earlier works were not in colour,
including installations), which is consistent with the fact that human
cortex has six layers. However, his art is not an illustration of
medical textbooks, but a vehicle to contemplate the processes of
thinking and cognition.
Having lived in Toronto in his childhood, he has
developed a fondness to the austere Arctic landscape. The multiple live
forms existing in this hostile environment are a frequent motive of
his art. Theology is another motif, in a paradoxical way relating to
the artists Catholic upbringing. Repulsed with dogmatic Catholic education
as a young adult, Plioplys has rediscovered the power of Christs message
for himself as a mature scientist and artist.