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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 green turquoise.
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 green turquoise.
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 green turquoise.
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 green turquoise.
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 green turquoise.

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View In My Room

ABENDSEITE 2 (5/8) - Limited Edition of 8 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 9.8 W x 13.8 H x 0.1 D in

Ships in a Tube

SOLD
Originally listed for $235

9 Views

2

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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 green turquoise.

DETAILS AND DIMENSIONS
Printmaking:

Woodcut on Paper

Artist Produced Limited Edition of:

8

Size:

9.8 W x 13.8 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

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

Stefan Osnowski is a German visual artist using one of the oldest reproduction processes to create an extremely filigree, digitally appearing, ultra-modern aesthetic. He exclusively uses the centuries-old technique of woodblock printing. Osnowski is investigating digital codes to transform it into analog ones to represent phenomenas such as time, movement and spaces in a two dimensional image frame. The transformation of the original image into an abstract binary bar code - 1 or 0 – carved into the wooden panel and printed by hand; gathering a theme or selecting a medium is just as much a part of the concept as physical contact and hand-crafting. He is living and working in Lisbon (Portugal).

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