Plunkett’s Art has been best formalised in the words of the Italian Art Critic Giulio Carlo Argan, in 1975, which are expressed by these Fragments of his writing about the Artist.

Plunkett’s art is the outcome of a train of thought followed to the ultimate exclusion of alternate possibilities.”

“…In Plunkett’s figures there is generally a suppression or alteration of some indispensable information for activating out the psychological mechanism by which, from a bi-dimensional rendering, a three-dimensional reality is reconstructed: the image is thus deprived of its natural support, suspended in a void which is not only a physical one.

There enters into play a principle similar to that of non determination, by which a problem may have several solutions, all mathematically correct. This is a process of interdiction or of rerouting: all the logical solutions which would lead to the exclusion of the other ones are intercepted and deviated.

“…For Plunkett a painting is a threshold, a diaphragm between two dimensions that tend to melt together: it preserves the iconology of the stretcher, of the jamb, of the frame. But, as a screen which yields to opposing pressures, the threshold-diaphragm cracks and is shattered. The visual attention, distracted from usual directions, is attracted by apparent anomalies, by the subtle play of anamorphosis, by the double or triple readings of the same image. The mind elaborates on the same visual data, finding solutions which are different, although simultaneous, which the eye confirms. So it is demonstrated that the ambiguity is not of the senses but of thought itself, or of the whole being …”