Mark Borghi

David Ostrowski’s paintings are the results of a total analysis of the very nature of painting. He consistently strives to undermine composition, style and “typical gestures”, experiments with speed and imperfection. Errors are integrated into the process of pictorial composition, successful sections are painted over. Errors and coincidences are played off against each other in order to achieve unforeseen beauty. Ostrowski deletes, overwrites, layers, makes decisions. “I imagine going into the studio. A neon sign hangs on the wall, flashing the word ‘surprise’. When I ask myself, who painted my own works, I know it’s a good painting.” In the process of painting, consideration is constantly being given to which elements, even the smallest markings, could be removed or added.

Ostrowski works with oil and lacquer; large areas of white dominate. Color is employed sparingly with the help of gestures that appear as unmotivated as possible. Ostrowski’s limited color palette is not something he actually prefers, but he does indeed approach this new, reduced color palette as the result of his intense analysis of this preference. Every now and then he wears blue pants. His working materials are things he finds in his studio: paper, strips of wood, newspaper, dirt. Having almost no options is considered an opportunity; even the lack of studio space is processed in the work. “Fuck painting a lot.” The music in the studio is the only emotion that gets captured on the canvas.

Ostrowski’s large formats are mirrors of his own self: they depict the vast emptiness, the apparent lack of motivation, sometimes aggression, but especially beauty. What is presented to us as a result is permanent reflection. It’s about something. It’s about nothing.

– Elena Brugnano