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GEHÖLZ 4/4 - Limited Edition of 4 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 10.6 W x 15.6 H x 0 D in

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About The Artwork

GEHÖLZ is the german equivalent for the english word "grove". In these new print series and works such as GEHÖLZ or WALD Osnowski is devoting himself to the idea of ​​image manipulation and the associated critical questioning of the visible. Osnowski seems to want to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of vision. The actual image motifs, some of which have been broken down and reduced to the smallest aesthetic elements, such as points, lines or wave-like interferences, dissolve in front of the eye of the observer or partially even completely fade away in the light: they are images between the visible and the invisible, blurred, yet whispering imagery. In this pictures, the blurring appears as a form of absence or emptiness that remains hidden from the viewer. 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. This is a special two-colors hand made print in bright blue and dark violet on hand scooped 350g Hahnemühle laid paper.

Details & Dimensions

Printmaking:Woodcut on Paper

Artist Produced Limited Edition of:4

Size:10.6 W x 15.6 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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