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IKARISCHE LANDSCHAFT 1/6 - Limited Edition of 6 Print
Portugal
Printmaking, Woodcut on Paper
Size: 19.7 W x 27.2 H x 0 D in
Ships in a Tube
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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"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life. 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 the simple glass lens.This is a unique print in golden yellow and dark violet.
Details & Dimensions
Printmaking:Woodcut on Paper
Artist Produced Limited Edition of:6
Size:19.7 W x 27.2 H x 0 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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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Portugal
„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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