Michel Platnic, Born in France in 1970, Michel moved to Israel at the age of 28. In 2010, he graduated with honors from ‘Hamidrasha’ School of Arts in Beit Berl College, Israel and received an award for excellence in Art. In the same year, Platnic received the Shpilman grant for excellence in photography. Holding a degree in Electrical Engineering, he worked in the Telecom field for 13 years. During this period, Michel received awards for excellence and innovation, publishing key patents, and served as editor of international standards. Michel has been practicing martial arts for over twenty years, studied performing arts and studied Etienne Decroux's techniques of body language.
Since 2006, he dedicates himself fully to Art while combining his multidisciplinary background in his artwork. At the end of his Art studies, Platnic joined the St-Art artist incubator chosen by Serge Tiroche as one of the promising young Israeli artist. Platnic's work has been exhibited in various galleries, institutions and museums across Israel and abroad.
Works in collection:
Video Demo After “Three Studies for Portrait of Lucien Freud” - 2013
Three Videos, Full HD each - Ed: 6+2A.P.
Left Video - Duration: 15min32sec
Center Video - Duration: 17min22sec
Right Video - Duration: 18min48sec
For several years now Michel Platnic has been creating works after Francis Bacon. The works follow specific painterly scenes by Bacon, ostensibly exploring them by reconstruction and shifting, on the technical as well as conceptual-psychological levels of the work, while employing drawing, painting, sculpture, photography, video, and performance.
On the technical level, Platnic re-stages painterly scenes, and expands them by infusing duration and movement into them. The work process involves a meticulous perusal of Bacon's chosen work; constructing a matching setting, which Platnic creates in his studio, while performing all the necessary acts of planning, measuring, cutting, sculpting, painting, etc.; directing the figures in keeping with the composition of the chosen scene; painting on the models' bodies or on his own; assimilating the figures into the constructed background via painting; unifying all of the above processes into the final work, which is a photograph or a video of a given scene.
On the conceptual level, Platnic seems to be comprehensively familiar with Bacon's paintings—their intricate architectural structure, the perception of space they embody, the emotional tumult concealed in them—yet he uses all these as a mere point of departure, striving to emerge therefrom onto other, additional dimensions. His work does not attempt to reconstruct or duplicate the exceptional painterly moment in Bacon's work, but rather to operate in relation to it. Thus, the painterly gestures underlying Platnic's practice may be awkward and crude at times, the proposed alternatives to the structure of the painted scene or the props appearing in it may have a grotesque facet, and the circumstances of the situation, as well as the psychology of the treated scenes, may gain a different meaning, but all these interfere neither with an immediate identification of the chosen scene nor with embarking on the journey it suggests. (Text: Hadas Maor)