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The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? 
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? 
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? 
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? 
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? 
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.
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VIEW IN MY ROOM

ABENDSEITE 1 (4/8) - Limited Edition of 8 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 9.8 W x 13.8 H x 0 D in

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Originally listed for $250
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About The Artwork

The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. The final print is made by hand, only with a simple glass lens.This is a unique print in phthalo blue.

Details & Dimensions

Printmaking:Woodcut on Paper

Artist Produced Limited Edition of:8

Size:9.8 W x 13.8 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

„For many years now, Stefan Osnowski has been concerned with a new approach to wood engravings and has been developing the opportunities inherent to the technique. When preparing the engravings enlarged to the size of an easel painting, he creates a range of tonal values purely through the variation of the width and depth of the carved lines, horizontal and vertical or diagonal, as well as through the alteration of the density of the grid whilst retaining a purely monochrome imagery. His printing technique also deviates from the norm, due to the use of a palm- size glass lens to manually rub the ink onto the paper rather than a printing press, thus preserving the apparent uniqueness of each individual item in a series. Physical contact and hand-crafting is just as much a part of the concept as gathering a theme or selecting a medium.”

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