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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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.
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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.
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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.
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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.
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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.

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KLEINER WOLKENBRUCH (3/3) - Limited Edition of 3 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 10.6 W x 15 H x 0.1 D in

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$490

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ABOUT THE ARTWORK

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. For Osnowski, the interface is not a screen lit up by illuminated pixels, but a unique imprint of a hand-worked wooden stump that - after multiple turns - reveals the deeper connections of the layers of reality. KLEINER WOLKENBRUCH (german) literally translates means "Little cloudburst". This is a special print in two colors bright turquoise / dark violet.

DETAILS AND DIMENSIONS
Printmaking:

Woodcut on Paper

Artist Produced Limited Edition of:

3

Size:

10.6 W x 15 H x 0.1 D in

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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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