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In David Ostrowski’s paintings, minimal gestures create maximum tension. His spray-painted lines break apart monochromatic backgrounds, both emphasizing and negating the painting’s flatness. Surfaces often built from plain house paint reveal underlayers of studio detritus that complicate the presumed emptiness of his abstract compositions. Monika Sprüth and Philomene Magers are pleased to present Parliament, Ostrowski’s first exhibition at the New York gallery, which furthers the artist’s relentless questioning of the medium of painting and its constitutive elements via the recurring figure of the owl.
Ostrowski’s first owl paintings date back to 2009, but he did not exhibit them until 2019. Now, five years later, Parliament combines early examples with several new works of varying scales and dispositions. Among backdrops of off-white and dusky blue, one, two, three or many owls appear, rendered in an array of visual styles from realistic to painterly to pic…
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Press Release
In David Ostrowski’s paintings, minimal gestures create maximum tension. His spray-painted lines break apart monochromatic backgrounds, both emphasizing and negating the painting’s flatness. Surfaces often built from plain house paint reveal underlayers of studio detritus that complicate the presumed emptiness of his abstract compositions. Monika Sprüth and Philomene Magers are pleased to present Parliament, Ostrowski’s first exhibition at the New York gallery, which furthers the artist’s relentless questioning of the medium of painting and its constitutive elements via the recurring figure of the owl.
Ostrowski’s first owl paintings date back to 2009, but he did not exhibit them until 2019. Now, five years later, Parliament combines early examples with several new works of varying scales and dispositions. Among backdrops of off-white and dusky blue, one, two, three or many owls appear, rendered in an array of visual styles from realistic to painterly to pic…
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