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During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski
During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski
During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski
During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski
During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski

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ENTRE 3 - Limited Edition 3 of 10 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 55.1 W x 43.3 H x 0.1 D in

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$2,320

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ABOUT THE ARTWORK

During my stay in Portugal some years ago I had a residency, a small studio in Lagos in the south west of the country, the really end (or beginning) of Europe and from where once the big “descobridores” where leaving the Old World to discover the New one. Almost every day I went to the shore (I could see and of course smell the sea anyway from my window), preferably to the western coast, to Sagres, Vila do Bispo, Aljezur, Praia da Ponta Ruiva, Praia do Cordoama, Praia da Barriga or Praia do Amado. And I spent hours watching the waves in their endless motion, crashing onto the cliffs again and again; sometimes when I spent the night at the beach I could even feel the dark and deep vibrations under me. I felt so small by facing this pure energy, by breathing this power of nature. Back in Budapest I started the ENTRE (In Between) serie in 2017, several images of empty Seascapes which I had brought with me or were still so present inside of me. Carving those crossed lines into the wood brought back the sea, each stroke of the knife a memory, cut into almost perfect Epicurean triangles, endlessness, meditative monk’s work. ENTRE 3 (3/10) light stone grey oil-based woodcut on paper, Edition 10, print size 89 x 120 cm, paper size 110 x 140 cm ©2017 Stefan Osnowski

DETAILS AND DIMENSIONS
Printmaking:

Woodcut on Paper

Artist Produced Limited Edition of:

10

Size:

55.1 W x 43.3 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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