Born in 1955 Olsztyn, Poland.
Studied fine arts at Nicholas Copernikus University in Torun.
He works mainly in painting, drawing,instalation and performance.
Hi designed a covered for music and books.
Pleszynski is connected with Club " MÓZG" in Bydgoszcz. He created many actions, performances
and art-projects with music bands and musicians, for example: SOMETHING LIKE ELVIS, KINSKI and SLAWEK
JANICKI. He has a lot of exhibitions in German, Denmark, Holland, France and Australia.
Pleszynski participatet in art-events in German and in 1998 CONSTRUCTION in PROCESS VI "Brigde" -
His part was instalation "The Windows-first situation" and performance.
There was in factory The Tannery Kensington.
This is his description:
"My role was restricted to setting the space in oder. After tiding up, it turned out that any furher
interferece would be an act of violence towards the existing space. I became only a cleaner.
I tried to minimalize "the aggression". In the first room fragile fences emphasized the importance
of the situation that was going on: the windows, the sky and clouds were creating harmony.
In the other room the case was similar. When, after the cleaning up all the rubble and scrap,
the objects on the floor appeared, I decide that the only thing I can do is to paint them.
The important feature of both instalations was non-aggression towards the space and the receiver.
While passing through thes situations, he did not have to treat them as artistic.
What I left him was the free choice. I did not want to impose my forms and toughts as I respect
his freedom. The harmony of art. the harmony of the world were mutually penetrating relations which
also played an important part in my performance."
At present Grzegorz Pleszynski is Managing Director of Office The International Artist's Museum
in Lodz - Department in Bydgoszcz. This office prepare VII Edition CONSTRUCTION in PROCESS -
"This Earth is a Flower". It will be huge event in Poland - 18 june 2000 - 2 july.
Almost 150 artists arrounde world will work and made art.
In performances Pleszynski try to find balance betwen reason and spirit. For him most important
is harmony in art. Pleszynski belives:
- if you find harmony in art, you touch harmony of the world
- if you find harmony you discover atavism
- all creatures filling harmony
- that love is one of small possibility, when you can filling harmony
- loosing spirit we loosed full filling of harmony and we warde more and more in neurosis
Grzegorz Pleszynski this artist has a sensitive imagination, very well developed perceptibility,
and he creates his own unrepeatable vision, his world, which becomes a suggestion to the others
or the motor which starts the imagination.
Grzegorz Pleszynski introduces us into a circle of an art. That seems to be a little aesthetic,
but by purpose destructive, and it forces us to consider it's sense.
The time acts destructively. It destroys stones, trees, changes the appearance of things,
also changes a men. Even by its act of creation, it changes what exists.
Time conditions the human behaviours, changes of art as well as definition of artistic creation itself.
The creation of Grzegorz Pleszynski can be classified with full consciousness of such changes.
It is real, touchable in it's existence. It liberates these things, which are hidden, mysterious,
that seem to be inaccessible, encoded in human subconsciousness, and still forgotten while time elapses.
Grzegorz Pleszynski tries to teach us to have a new experience of the world, it's dual nature
using feelings and intellect.
Grzegorz Pleszynski creates installations with epical spirit, although he uses limited means.
He reduces the matter of his works to a few objects, a human body, sound and light.
He carefully selects his substance, successfully joining technology with nature.
Hi is able to perceive the corporality of the objects supple to destruction, limited to their essence,
synthetized. The corporality of "transparent" objects which enable us to observe the world
(eg. a bedframe a frame of a window).
A TV set - a fetish of modern culture has a remarkable place in set of instruments of Grzegorz Pleszynski.
He uses his favourite home implement many times. He throws it into the open space and makes it emit TV
programmes among trees and silence. He uses it as a source of light of the most unreal character,
maybe as a reflection of methaphysics. He leaves TV sets on paving-stones as erratic blocks,
he denies their utylity by puting them vis-a-vis each other in a kind of contemplation.
He binds and crosses them with white paper, trying to bewitch and imprison the demon of civilization.
And then he lifts it as an Atlas bent under the burden of the present day.
Pleszynski often shows nudity, expressive and helpless, encircled by technology and rejected by nature. Coming back into nakedness, he tries to find stability between tamed and primitive himself. He ties to find his place between Arcadia and Apocalypse; between biological atavism, intuition, animal purity and limitation of a good mannered and educated man.
By simple means he tries to reach the absolute, not creasing to estimate his creativity ironically.