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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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.
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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.
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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.
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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.
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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.

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WALD 2/3 Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 21.3 W x 27.6 H x 0.1 D in

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Originally listed for $810

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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"? WALD is the german equivalent for forest. 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. The colors of this print do not appear in the same combination within the edition. It is printed in orange and dark turquoise.

DETAILS AND DIMENSIONS
Printmaking:

Woodcut on Paper

Original:

One-of-a-kind Artwork

Size:

21.3 W x 27.6 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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