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“Space, as frequentation of places rather than a place, stems in effect from a double movement: the traveller’s movement, of course, but also a parallel movement of the landscapes which he catches only in partial glimpses, a series of ‘snapshots’ piled hurriedly into his memory and, literally, recomposed in the account of gives of them, the sequencing of slides in the commentary he imposes on his entourage when he returns. Travel...constructs a fictional relationship between gaze and landscape. And while we use the word ‘space’ to describe the frequentation of places which specifically defines the journey, we should still remember that there are spaces in which the individual feels himself to be a spectator without paying much attention to the spectacle. As if the position of the spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle. (...) The traveller’s space may thus be the archetype of non-place.” Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity. 1995
“Space, as frequentation of places rather than a place, stems in effect from a double movement: the traveller’s movement, of course, but also a parallel movement of the landscapes which he catches only in partial glimpses, a series of ‘snapshots’ piled hurriedly into his memory and, literally, recomposed in the account of gives of them, the sequencing of slides in the commentary he imposes on his entourage when he returns. Travel...constructs a fictional relationship between gaze and landscape. And while we use the word ‘space’ to describe the frequentation of places which specifically defines the journey, we should still remember that there are spaces in which the individual feels himself to be a spectator without paying much attention to the spectacle. As if the position of the spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle. (...) The traveller’s space may thus be the archetype of non-place.” Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity. 1995
“Space, as frequentation of places rather than a place, stems in effect from a double movement: the traveller’s movement, of course, but also a parallel movement of the landscapes which he catches only in partial glimpses, a series of ‘snapshots’ piled hurriedly into his memory and, literally, recomposed in the account of gives of them, the sequencing of slides in the commentary he imposes on his entourage when he returns. Travel...constructs a fictional relationship between gaze and landscape. And while we use the word ‘space’ to describe the frequentation of places which specifically defines the journey, we should still remember that there are spaces in which the individual feels himself to be a spectator without paying much attention to the spectacle. As if the position of the spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle. (...) The traveller’s space may thus be the archetype of non-place.” Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity. 1995
“Space, as frequentation of places rather than a place, stems in effect from a double movement: the traveller’s movement, of course, but also a parallel movement of the landscapes which he catches only in partial glimpses, a series of ‘snapshots’ piled hurriedly into his memory and, literally, recomposed in the account of gives of them, the sequencing of slides in the commentary he imposes on his entourage when he returns. Travel...constructs a fictional relationship between gaze and landscape. And while we use the word ‘space’ to describe the frequentation of places which specifically defines the journey, we should still remember that there are spaces in which the individual feels himself to be a spectator without paying much attention to the spectacle. As if the position of the spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle. (...) The traveller’s space may thus be the archetype of non-place.” Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity. 1995

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View In My Room

ZUG 2 (4/10) Print

Stefan Osnowski

Portugal

Printmaking, Woodcut on Paper

Size: 147 W x 150 H x 0.1 D cm

Ships in a Tube

₣ 2’722

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109 Views

2

Artist Recognition
link - Featured in One to Watch

Featured in One to Watch

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Artist featured in a collection

ABOUT THE ARTWORK
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“Space, as frequentation of places rather than a place, stems in effect from a double movement: the traveller’s movement, of course, but also a parallel movement of the landscapes which he catches only in partial glimpses, a series of ‘snapshots’ piled hurriedly into his memory and, literally, recom...

Year Created:

2017

Subject:

Time

Styles:

Fine Art

, 

Abstract

, 

Modern

, 

Minimalism

 

Mediums:

Woodcut

, 

Oil

, 

Ink

, 

Paper

 

Mediums:

Printmaking, Woodcut on Paper

Rarity:

One-of-a-kind Artwork

Size:

147 W x 150 H x 0.1 D cm

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:

14-day return policy. Visit our help section for more information.

Handling:

Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Portugal.

Need more information?

Contact us.

Need more information?

Contact us.

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.“

Artist Recognition
Featured in One to Watch

Featured in Saatchi Art's curated series, One To Watch

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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