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Osnowski, in his latest prints, reduces the woodcut to its most basic units, the stroke of the engraving knife, which corresponds to the basic unit of digital data storage, the bit. The parallels are not forced, as both are based on the dichotomous structure of yes-no, 0-1, false-true, and dark-light. Thus, in the minimalist visuality, thousands of years of woodcut technique and vision are found together with the basic unit that stores digital information, which today is used to store and then retrieve most images, and through which we eventually see reality. The image motifs of the sky or clouds Osnowski „translates“ on the wooden plate into a simple linear code and manually cuts into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. Through a variety of cut openings, partially closed, partially open, thereby forming the final print a wide range of different light and dark tones, which produce a coherent image when viewing. All prints of this series are printed in classical dark oily Black on high quality 240g/m2 ARCHES paper (Velin Johannot) with beautiful deckle edges and watermark. Due to the fine grain texture of the paper the handprinted images become very vibrant and because the actual printing is done manually, without the use of machines or presses, using only a large glass lens.
Osnowski, in his latest prints, reduces the woodcut to its most basic units, the stroke of the engraving knife, which corresponds to the basic unit of digital data storage, the bit. The parallels are not forced, as both are based on the dichotomous structure of yes-no, 0-1, false-true, and dark-light. Thus, in the minimalist visuality, thousands of years of woodcut technique and vision are found together with the basic unit that stores digital information, which today is used to store and then retrieve most images, and through which we eventually see reality. The image motifs of the sky or clouds Osnowski „translates“ on the wooden plate into a simple linear code and manually cuts into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. Through a variety of cut openings, partially closed, partially open, thereby forming the final print a wide range of different light and dark tones, which produce a coherent image when viewing. All prints of this series are printed in classical dark oily Black on high quality 240g/m2 ARCHES paper (Velin Johannot) with beautiful deckle edges and watermark. Due to the fine grain texture of the paper the handprinted images become very vibrant and because the actual printing is done manually, without the use of machines or presses, using only a large glass lens.
Osnowski, in his latest prints, reduces the woodcut to its most basic units, the stroke of the engraving knife, which corresponds to the basic unit of digital data storage, the bit. The parallels are not forced, as both are based on the dichotomous structure of yes-no, 0-1, false-true, and dark-light. Thus, in the minimalist visuality, thousands of years of woodcut technique and vision are found together with the basic unit that stores digital information, which today is used to store and then retrieve most images, and through which we eventually see reality. The image motifs of the sky or clouds Osnowski „translates“ on the wooden plate into a simple linear code and manually cuts into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. Through a variety of cut openings, partially closed, partially open, thereby forming the final print a wide range of different light and dark tones, which produce a coherent image when viewing. All prints of this series are printed in classical dark oily Black on high quality 240g/m2 ARCHES paper (Velin Johannot) with beautiful deckle edges and watermark. Due to the fine grain texture of the paper the handprinted images become very vibrant and because the actual printing is done manually, without the use of machines or presses, using only a large glass lens.
Osnowski, in his latest prints, reduces the woodcut to its most basic units, the stroke of the engraving knife, which corresponds to the basic unit of digital data storage, the bit. The parallels are not forced, as both are based on the dichotomous structure of yes-no, 0-1, false-true, and dark-light. Thus, in the minimalist visuality, thousands of years of woodcut technique and vision are found together with the basic unit that stores digital information, which today is used to store and then retrieve most images, and through which we eventually see reality. The image motifs of the sky or clouds Osnowski „translates“ on the wooden plate into a simple linear code and manually cuts into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. Through a variety of cut openings, partially closed, partially open, thereby forming the final print a wide range of different light and dark tones, which produce a coherent image when viewing. All prints of this series are printed in classical dark oily Black on high quality 240g/m2 ARCHES paper (Velin Johannot) with beautiful deckle edges and watermark. Due to the fine grain texture of the paper the handprinted images become very vibrant and because the actual printing is done manually, without the use of machines or presses, using only a large glass lens.
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Original
Prints

CLOUD (1/6) - Limited Edition of 6 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 56 W x 76 H x 0.1 D cm

Ships in a Tube

$898USD

Shipping included

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194 Views

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Osnowski, in his latest prints, reduces the woodcut to its most basic units, the stroke of the engraving knife, which corresponds to the basic unit of digital data storage, the bit. The parallels are not forced, as both are based on the dichotomous structure of yes-no, 0-1, false-true, and dark-ligh...

Year Created:

2020

Subject:

Abstract

Styles:

Abstract

, 

Fine Art

, 

Minimalism

, 

Modern

 

Mediums:

Woodcut

, 

Oil

, 

Ink

, 

Paper

 

Mediums:

Print, Woodcut on Paper

Rarity:

Limited Edition of 6

Size:

56 W x 76 H x 0.1 D cm

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

The purchase of photography and limited edition artworks as shipped by the artist is final sale.

Handling:

Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Portugal.

Need more information?

Contact us.

Need more information?

Contact us.

Stefan Osnowski is a German visual artist who employs one of the oldest reproduction techniques to create an intricate, digitally-inspired, ultra-modern aesthetic. He exclusively uses the centuries-old process of woodblock printing. Osnowski explores digital codes, transforming them into analog representations to depict phenomena such as time, movement, and space within a two-dimensional image frame. This transformation involves converting the image into an abstract binary barcode—1s and 0s—carved into a wooden panel and printed by hand using palm-sized glass lenses. The process of selecting a theme or medium is as integral to the concept as the physical contact and craftsmanship involved. In 2024, Osnowski was awarded third place in the international Luxembourg Art Prize. He lives and works in Lisbon. „My work explores the tension between structure and unpredictability, transforming familiar motifs into shifting frameworks of time and space. By weaving geometric harmony with chaotic disruptions, I blur the boundaries between rationality and emotion. The result is a visual language that oscillates between control and spontaneity, figuration and abstraction—inviting the viewer to navigate a dynamic, ever-changing landscape.“

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