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    Temporary exhibitions:

    Piotr Ostrowski
    omni_lab

     

    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.

    This artist examines processes which lead to the construction of complex structures. In the
    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.

    1

    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.

    2

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    Work­shop and Stained Glass Museum
    al. Krasin­skiego 23, 31–111 Krakow
    tel.: +48 512 937 979, info@stainedglass.pl
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