Michal Plis

Michal Plis Follow Melbourne abstract artist & Roundism movement founder Michal Plis. Solo exhibition July 2026. JW יהוה. michalplis.com BIOGRAPHY

Biography of Michal Plis.

Sculpting with light through investment-grade paintings & kinetic vessels for modern corporate & private collections. Michal Plis Fine Art is a Melbourne-based contemporary art studio dedicated to the creation and curation of investment-grade abstract works for modern interiors, private collections, and corporate environments.

​The Roundism Art Movement ⭕️

Founded by Principal Artist Michal Plis

, the studio is the birthplace of the Roundism Art Movement. This philosophy rejects the sharp edges of traditional abstraction in favor of the "Infinite Loop"—exploring the geometry of emotion through continuous, harmonious forms. Our works are not static; they are "sculpted with light," utilizing fluorescence, transparency, and optical reflectivity to create dynamic perceptual experiences that evolve throughout the day.

​Services for Collectors & Industry Professionals:

We partner with interior architects, art consultants, and private collectors to deliver works that elevate architectural spaces.

​Bespoke Commissions: Large-scale paintings and sculptures tailored to specific spatial and lighting requirements.

​Corporate Collections: Curated acquisitions for lobbies, boardrooms, and luxury hospitality projects.

​Private Sales: Direct access to the studio's primary market inventory and "Wet Paint" releases.

​About the Founder:

Born on Poland’s Pomeranian Baltic coast and now based in Melbourne, Michal Plis brings a unique multicultural and distinct aesthetic perspective to his practice. Following the foundational 2025 exhibition "Glimpse of Another Universe," the studio is currently focused on expanding the Roundism narrative through collaborations with designers and galleries.

​Contact:

For catalogue requests, commercial leasing, or studio visits in Mount Waverley, please contact the studio directly. Michal Plis is a Polish-born, Melbourne-based multidisciplinary artist whose work explores the intersection of light, material and imagination. Through abstract paintings and innovative sculptures, he invites audiences to glimpse a personal universe shaped by scientific curiosity and spiritual reflection. Born in the early 1980’s on Poland’s Pomeranian Baltic coast, Michal was introduced to art by his late mother, Renata Plis, a painter and sculptor. After migrating to Australia as a child, he continued to paint through his teenage years and was recognised as one of the top art students at his high school, Eumemmerring College (Glenagles Junior Campus Years 7 to 10 and Hallam Senior Campus Years 11 and 12, later renamed to Hallam Secondary College). During Years 11 and 12, Michal had the opportunity to be taught by two artists-in-residence with varied artistic backgrounds, which formed a strong foundation for his passion for fine art. Though encouraged by the artists-in-residence to pursue formal art education at the Victorian College of the Arts, Michal chose his own path and later spent two decades working in information technology, while art remained a private pursuit. He stopped creating art in 2010 due to the emotional attachment between his art and the loss of his mother, Renata. After 12 years, in 2022, Michal returned to art with renewed purpose and discovered its therapeutic and transformative power. He began developing multispectral works that use materials to compose with light; his practice draws on optical phenomena such as fluorescence, transparency and reflectivity, combined with varied light sources to produce shifting perceptual experiences. This long-term exploration is central to his concept of “sculpting with light,” which he will reveal in the 2025 exhibition Glimpse of Another Universe. Since 2024 Michal has been training at the Melbourne Studio of Art with sculptor Ilona Herrainer. Her background in contemporary sculpture and various mediums has been an important influence on his evolving practice. Alongside mentorship, Michal supplements his learning through independent research, art history study, and the selective use of generative AI tools to support both technical and conceptual development. His work is inspired by nature, astronomy and the patterns woven into human life and the cosmos. Deeply influenced by a wide range of artists such as Leonardo da Vinci, Vincent van Gogh, Claude Monet, Wassily Kandinsky, Stanisław Szukalski, Barbara Hepworth, Pablo Picasso and Yayoi Kusama. Michal combines intense focus with a neurodivergent perspective that shapes his unique way of seeing. He also draws from movements including Cubism, Impressionism, the Renaissance, Surrealism, Abstract Expressionism, Suprematism and Geometric Abstraction. For Michal, light is not simply a medium but a language, a way to reveal hidden dimensions of reality. His favourite inspirational song is "A Way to Focus the Mind" by The Fires of Ork (a collaboration between Biosphere & Peter Namlook). The track includes excerpts from the Star Trek: Voyager episode "Scorpion", where a holographic Leonardo da Vinci meets Captain Janeway; the scene’s themes of creativity and altered perception resonate strongly with Michal and influence how he represents experience in his work. Looking ahead, Michal plans to develop large-scale paintings, sculptures and installations that embody his art movement, blending invention with expression. As one of Jehovah’s Witnesses, he draws strength and inspiration from his faith in the Creator, Jehovah God, and seeks to honour that source through creativity. His aspiration is for a future, reflecting biblical promises for mankind, in which economic barriers no longer limit artistic expression, artists pursue ambitious projects, and collectors and the public can access and circulate art openly. Signed: ​

Michal Plis
Melbourne, Australia
27/08/2025

Here's some launch event photos from my debut 2025 solo exhibition entitled: "Glimpse of Another Universe". Held late la...
08/06/2026

Here's some launch event photos from my debut 2025 solo exhibition entitled: "Glimpse of Another Universe".

Held late last year at the Louis Joel Gallery in Melbourne, this opening marked the official public unveiling of Roundism, a secular art movement founded to explore the universe through a strict visual grammar of pure, edgeless forms.

Roundism relies entirely on four geometric shapes: dots, circles, rings, and spheres. By completely forbidding corners, ovals, or straight lines, the movement introduces a visual methodology focused on absolute harmony and structural coherence.

The collection showcased a deep immersion into my signature style of "sculpting with light". Using a specialized combination of multispectral materials, synthetic polymer resins, and raw limestone, the works are never static.

These pieces function as active kinetic vessels. They are engineered to trap environmental lighting and change appearance dynamically depending on the viewer's angle, pulling the observer into an infinite loop of focus.

Thank you to the collectors, the public, and curators who joined us in Melbourne to establish the physical foundation of this movement.

To view the complete pricing catalog or to request a private studio viewing in Melbourne, please connect via michalplis.com.

STAFF INVOLVED:

Artist Michal Plis

Photography by Clinton Okpara

Live Streaming by Ryan Fernandes

Exhibition Coordination by Zoe Jones

Louis Joel Board Member & Exhibition Speech By Catherine Curtain

I would also like to thank many more that assisted, my support team.





06/06/2026

The intersection of geometric purity and multispectral illumination. "Candor Source" is a continuous exploration of genesis and the edgeless ideal, demonstrating how light interacts natively with sculptural form.

Candor Source in daylight can transform into black light and even transform into phosphorescent light. In its many illuminations, it continues to brightly shine, The Candor. Candor is an energy source in my abstract universe juxtapositions brightness purity but also blinding light and power.

Designed as an active kinetic vessel, this work exerts a clear gravitational pull, holding the gaze in a self-sustaining orbit to filter out the chaotic noise of the exterior world.

The accompanying audio is an original ambient soundscape generated through Stable Audio, completely copyrighted for the studio, mirroring the deep, focused energy of the visual geometry. Available for private placement. Inquiry via the link in profile.

Artwork Details:
- Title: Candor Source
- Medium: Clay, synthetic polymer resin, and multispectral pigments
- Dimensions: 16 x 20 x 20 cm
- Price: $1,800 inclusive of GST
- Audio: Original soundtrack via Stable Audio (Copyright Michal Plis)






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05/06/2026

The exploration of the pure, edgeless form manifests completely in "Lightpod 1". As a kinetic vessel, this sculpture actively captures and circulates ambient light, forcing it into a self-sustaining orbit that transforms the surrounding architectural space.

Crafted with glass and synthetic polymer resin, the piece physically shifts with its environment, bridging the visible and the invisible. Designed for sophisticated interiors and curatorial placement, it invites an enduring engagement with the geometry of order.

Available for private placement. For acquisition inquiries and to view the provenance records, visit michalplis.com

Artwork Details:
Title: Lightpod 1
Medium: Glass, synthetic polymer resin
Dimensions: H 16 x W 16 x D 16 cm
Price: $1,650 inclusive of GST
Exhibition: Glimpse of Another Universe, 2025
Audio: Created by Michal using stable audio service, Copyright.






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Who is Michal Plis the artist? Born on Poland's Pomeranian Baltic coast and mentored by my late mother, painter and scul...
02/06/2026

Who is Michal Plis the artist?
Born on Poland's Pomeranian Baltic coast and mentored by my late mother, painter and sculptor Renata Plis, my path came full circle when I returned to fine art with absolute purpose in 2022. I later refined this reawakened vision through formal training at the Melbourne Studio of Art under sculptor Ilona Herrainer. .studio.of.art

As a neurodivergent creator, I process my environment through a highly tuned creative engine, mapping geometric order directly out of chaos. This deep pursuit of structural harmony is closely intertwined with my faith in the Creator, Jehovah God, drawing constant inspiration from the laws woven throughout the physical universe.

This intersection of science, structure, and spirituality led to the foundation of Roundism, a secular art movement exploring the cosmos through a strict grammar of purely round, edgeless forms: dots, circles, rings, and spheres. Through the primary technique of sculpting with light, I combine limestone, synthetic polymer resins, and multi-spectral pigments to build active kinetic vessels. These pieces are engineered to capture ambient illumination, forcing light to circulate in a self-sustaining loop before releasing a purified clarity back to the observer.

These foundational concepts were first fully unveiled to collectors during my solo exhibition, Glimpse of Another Universe at Louis Joel Gallery in 2025

For interior designers, contemporary curators, and architectural collectors, how does a shifting, light-reactive focal point alter your perception of spatial volume within a minimalist environment? Let us discuss your approach to curatorial placement below.

To view the complete pricing registry, request a private studio viewing in Melbourne, or read my full biography, please connect via michalplis.com.

Photography by Bjorn La Miere






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31/05/2026

The architecture of a unified space relies entirely on structural harmony.

Created at the Melbourne Studio of Arts .studio.of.art for my landmark 2025 exhibition, the sculpture Many of One operates as a rigorous physical study in the concept of Coherence — a foundational pillar of the Roundism art movement. Rather than interpreting the environment through broken or fragmented forms, this work harmonizes multiple repeating geometric structures into a singular, edgeless kinetic vessel.

The accompanying video presentation features multiple stitched studio scenes, shifting through precise transitions designed to mirror the physical repetition within the work. The custom soundscape, generated via Stable Audio, carries the studio's full copyright and transitions in complete alignment with the visual cuts.

Title: Many of One (2025 Exhibition Archive)
Studio of Origin: Melbourne Studio of Arts
Gallery: Louis Joel Art Gallery, Altona Aus
Dimensions: 20 x 30 x 30 cm (Height x Width x Depth)
Materials Used: Glass, recycled materials, wood, and synthetic polymer resin
Acoustics: Original copyrighted composition by the artist made with Stable Audio

Inquiries: Available for private placement. For full provenance data, architectural integration metrics, or to arrange a private viewing, please contact the studio directly via direct message or connect at michalplis.com.

MelbourneArt

29/05/2026

A closer look at the spatial mechanics of Piece No. 3, Incubator, from the 2025 master collection. This hanging sculpture relies entirely on its surrounding environment to complete its visual narrative, utilizing an intricate framework of steel, zinc, glass, and synthetic polymer resin to catch and manipulate ambient light fields. The custom audio accompaniment tracks this physical geometry, translating the material density into an immersive spatial experience.

Dimensions: 36 x 36 x 13 cm
Inquiries: Available for private placement. View the complete collection catalogue at michalplis.com.
Background music: "Incubator" created in stable audio copyright Michal Plis

27/05/2026

Sharing a closer look at Armilla Fields from the studio today! This hanging sculpture is all about Coherence, using patterns of the round to find harmony and connection between industrial metals and light-reactive resins.

The background music is an original audio track I created to run alongside the piece, creating a true multi-sensory loop.

Medium: Synthetic polymer resin, zinc, steel, aluminum, and recycled materials.
Dimensions: 43 x 36 x 36 cm
Inquiries: Available for acquisition. Head over to michalplis.com to view the full series and read up on my latest projects.


Art Must Be the Infinite Loop, Not a Diplomatic Weapon. ​The 2026 Venice Biennale is currently facing what many consider...
11/05/2026

Art Must Be the Infinite Loop, Not a Diplomatic Weapon.

​The 2026 Venice Biennale is currently facing what many consider the most chaotic period in its 131-year history. With jury resignations and the threat of pulled funding, the institution is at a crossroads: should art be a tool for state accountability, or a universal space for human connection?

​In my recent discussions with colleagues, a vital tension has emerged. While it is true that national pavilions are institutional frames, we must ask: at what point does "accountability" become collective punishment?

​As the founder of the Roundism Art movement, I view this through the lens of three core of it's philosophies:

1. ​Coherence vs. Fragmentation: Politics is the art of drawing lines, creating the same kind of fragmentation we see in Cubism. Roundism is a visual methodology for achieving unity. When we exclude artists based on their passports rather than their work, we break the network. We replace coherence with chaos.

2. ​The Kinetic Vessel: I believe art acts as an active trap for energy, circulating it to release clarity. When an institution shuts down a pavilion, it breaks the vessel. It stops the circulation of dialogue precisely when the world needs a "purified" perspective the most.

3. ​The Intent toward Perfection: We must acknowledge that human ex*****on and government actions are inherently organic and imperfect. However, the art world should be a pursuit of a higher geometric truth. It must remain an "edgeless" space where dialogue can exist without the sharp edges of geopolitical borders.

​If we begin judging "passports instead of art," we set a dangerous precedent. If we exclude one nation today based on current events, where does it end? History shows us that almost every nation has chapters they are not proud of. If we used those as a metric for artistic inclusion, the Biennale would be an empty hall.

​Art should be a means of debate, not a target of a "witch hunt." If we fought our wars with points of view in art rather than with weapons, the world would be a far more peaceful place.

​The independence of art is not a luxury, it is a necessity for global sanity.

​I am curious to hear from my fellow artists and curators: Should the institutional frame of a "National Pavilion" always be tied to the actions of a state, or can we allow the art to stand on its own merit?

05/03/2026

Family is not by blood but by love

04/03/2026

I could just write some negative things, but what's the point. It's better to focus on creating.

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Monday 9am - 5pm
Tuesday 9am - 5pm
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