Ivan Plusch’s contribution to Orbis Imaginalis addresses one of the central questions of the exhibition directly: how an image maintains internal coherence when orientation, gravity and recognition begin to shift. The works presented here develop through dense accumulations of paint in which figure-like structures and architecture emerge from compressed material fields. Bodies remain visible, yet they avoid stable anatomical definition. Limbs, torsos and spatial fragments enter continuous transformation and remain embedded within a pictorial mass whose organisation follows internal relations rather than descriptive order.
The paintings construct a fluid image system. Flesh passages move into mineral surfaces, architectural elements lose fixed borders and the distinction between body, object and environment becomes increasingly permeable. Form appears through condensation and subsequently disperses again. The image therefore develops through movement inside its own structure. Visibility emerges gradually and remains dependent on relation, direction and proximity.
This internal organisation became especially significant within the exhibition installation. One of the paintings was deliberately rotated. The intervention preserved the material integrity of the work while altering its orientation. In its original position, the pictorial gravity followed Plusch’s own logic: movement unfolded according to the direction established inside the painting itself. The rotated version introduced another perceptual order. The fluid continuum became more accessible for the viewer while simultaneously shifting away from the original orientation. The work began to operate between two systems of coherence.
This intervention connects directly to the conceptual framework of Orbis Imaginalis. Borges’ Tlön, Uqbar, Orbis Tertius describes realities generated through internal consistency and structural relation rather than external verification. The rotated painting materialises this mechanism: the image remains identical while orientation and perception change.
The colour structure reinforces this process. Grey fields, muted blues, earth tones and restrained flesh passages move into one another without hard separation. Contours remain unstable, transitions dominate the pictorial surface and density replaces linear definition. The image unfolds through accumulation and gradual revelation.
Plusch’s works therefore occupy an important position within the exhibition because they articulate transformation as a pictorial condition. The paintings preserve coherence while keeping form open. Reality remains present and simultaneously mutable. The image generates its own world and sustains it through continuous reorganisation.