The immediate inspiration for the project was the brain cell, or – more precisely – the recent scientific discovery that the structure of the brain cell, under magnification to a level that was previously not possible, resembles the Universe.
“If the brain cell resembles the Universe, it is easy to imagine that the entire Universe constitutes merely of one single cell of a larger, incomprehensible being. This idea is as striking as it is dangerous, nonetheless it allows us to exceed limits when it comes to scale. Does scaling have any limits whatsoever?”, asks Ostrowski.
Perspective of the fine arts, he defines this as a disorder, a thicket, immensity – everything that leads to consolidation, accumulation and ultimately chaos, which he also observes in human beings.
Three triptychs comprised of colored lithographs depict pulsating networks of biological and mechanical structures which constantly interact with each other, giving the impression that one piece of matter smoothly transforms itself into another and – like a returning wave – shows a reflected image of the original piece on its surface.
Having crafted in glass for the past 20 years, the artist decided to use lithography as a technique which could add a new dimension to larger compositions – a technique which can be somehow sketchy, introductory, guiding.
It is important for this technique to be based on similar methods of creating images. It should make possible expressive, painterly compositions of spots and rhythms on lithographic stones, and the use of paint intended to dilute colors and reduce their opacity should allow colors to be combined as they are in glass. Ostrowski juxtaposes extremes: abstraction and clear representation, chaos and order, organic forms and geometry, light and shadow. In glass he is inspired by Caravaggio – a “painter of the constant struggle with light and shadow” who has always fascinated him.