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Indigo David Ostrowski: The Critic: Cat. Kunstverein Heilbronn | Erin Mills Town Centre
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David Ostrowski creates paintings that operate in the tension between restraint and poetic expression. Suggestion and elaboration engage in a dynamic interplay. He works in series, with the “ F” series standing out as a defining body of work. At first glance, their pared-down surfaces appear minimalist, yet they are permeated by layers and areas of density that record a complex, multi-layered process. The book and exhibition for the Kunstverein Heilbronn address the concept of self-referential critique and the critical demands placed on one’ s own artistic production. The title – borrowed from an American cartoon series of the 1990s – evokes the figure of the relentless critic while turning that critical gaze inward. As Hans-Christian Dany writes: “ David’ s movement is not a case of unadulterated escapism. The paths by which he finds his exit remain visible, just like the misery from which they lead. Moreover, these escapes are reminiscent of somersaults rather than dramatic stunts, eschewing the ambition of skillful acrobatics. In the act of tumbling, David prefers to transform the fangs of a ‘ false life’ into a set of rubber Dracula teeth, bouncing them up and down on the floor like a rubber ball until they morph into a provocation of the self – one that allows him to keep painting.”
David Ostrowski creates paintings that operate in the tension between restraint and poetic expression. Suggestion and elaboration engage in a dynamic interplay. He works in series, with the “ F” series standing out as a defining body of work. At first glance, their pared-down surfaces appear minimalist, yet they are permeated by layers and areas of density that record a complex, multi-layered process. The book and exhibition for the Kunstverein Heilbronn address the concept of self-referential critique and the critical demands placed on one’ s own artistic production. The title – borrowed from an American cartoon series of the 1990s – evokes the figure of the relentless critic while turning that critical gaze inward. As Hans-Christian Dany writes: “ David’ s movement is not a case of unadulterated escapism. The paths by which he finds his exit remain visible, just like the misery from which they lead. Moreover, these escapes are reminiscent of somersaults rather than dramatic stunts, eschewing the ambition of skillful acrobatics. In the act of tumbling, David prefers to transform the fangs of a ‘ false life’ into a set of rubber Dracula teeth, bouncing them up and down on the floor like a rubber ball until they morph into a provocation of the self – one that allows him to keep painting.”
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