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"Gehölz" is the german equivalent for the english word "grove". 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 hand made print on hand scooped 320g Hahnemühle paper.
"Gehölz" is the german equivalent for the english word "grove". 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 hand made print on hand scooped 320g Hahnemühle paper.
"Gehölz" is the german equivalent for the english word "grove". 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 hand made print on hand scooped 320g Hahnemühle paper.
"Gehölz" is the german equivalent for the english word "grove". 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 hand made print on hand scooped 320g Hahnemühle paper.
"Gehölz" is the german equivalent for the english word "grove". 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 hand made print on hand scooped 320g Hahnemühle paper.

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GEHÖLZ 1/4 - Limited Edition of 4 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 10.6 W x 15.6 H x 0.1 D in

Ships in a Tube

$400

Shipping included

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144 Views

6

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"Gehölz" is the german equivalent for the english word "grove". 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...

Year Created:

2020

Subject:
Medium:

Print, Woodcut on Paper

Rarity:

Limited Edition of 4

Size:

10.6 W x 15.6 H x 0.1 D in

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.

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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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Artist featured by Saatchi Art in a collection

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