Dierk Osterloh: testimonials

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Destiny bridge to paradise, gray imagery by Dierk Osterloh

Duration and finiteness are at the heart of the artist, which can be seen in St. Theodor.
from JÜRGEN KISTERS

Vingst - Technical changes shape the face of the post-modern world. And right in the ceaseless process of change of culture feel for the world to ancient times is becoming increasingly difficult. If it were not for the old stories. And if it were not for the images with which artists recreate the imagination busy by former repeatedly. After all, is a concern of contemporary art since modernism not only inventing new worlds and perceptions. Another is not to be cut off from the continuity of an ancient experience that stays connected to sensitive way with the weight of the world. Such paints pictures Dierk Osterloh for years, and some of which are currently on display in the Church of St. Theodore. They are very sensual in its material presence. And at the same time they are animated by a mysterious glow that leads the effectiveness of the invisible into the field.

Grau these pictorial worlds, created from black and white and the infinite nuances in between. With gross determination of living in Rodenkirchen artist brings the colors on the big screens. And he paints them with restless violence, precisely in order to make clear how much the person has to find appeasement. Nature is on one side of his motives, as expressed in the dynamic growth of a powerful aloe plant. It comes almost explosively from the earth and strives with light flowers toward the sky. Culture as a means of people to stand up to the roaring and distorting in all directions forces of nature, stands on the other side of the motives. Aptly Osterloh has expressed in the image of a shadowy man who rows on the moving large sea while ghostly faces threaten him like a thunderstorm. This composition called "Last Passage", is Osterlohs answer to Arnold Böcklin's painting "The Island of the Dead". As a "dream image" Böcklin had painted the motif of a solitary rock island in 1880, which should equally appear as a symbol of salvation and the sinister threat.

An equally striking motif is Osterloh succeeded with the image of "Cinvatbrücke". It goes back to a story of ancient Iranian Zoroastrianism. Then people come only this fate bridge to paradise. However, only those who have lived a righteous life, create it. The others fall into the middle of the razor-sharp bridge into the water.

Osterloh, who formed alongside the painting also sculptures of wooden artefacts is equally interested in cultural history and art. He has power in his painting masterfully to combine the old tales of religion and the eternal artistic charm of the Ineffable. And presented in a church, such an approach inevitably gets those existential dimension that threatens to get lost in the art stereotyped effect tumbling of the current event culture increasingly.

St. Theodor, Burgstraße 42, So 12-13 Uhr, bis 28. february

Jürgen Kisters

Kölner Stadt-Anzeiger
24.02.2009

 

Dierk Osterloh – Review Oeuvre

It is not enough to look behind the picturesque and sculptural oeuvre Dierk Osterlohs exclusively for beauty in art. Two key messages from the artist give thereof sufficient customer: My Pictures "enter the inner sides of my being contradicted - that are an expression of my soul; and the sculptural work:" Even with the objects is my intention to touch the very foundations of life. " The viewer here feels instinctively, inevitably comes to the "collective subconscious" and the "archetypes" CG Guys remembers. Mag Jung's work to be in need of revision, even obsolete today, so a certain kinship falls here but in the eye; well, you will feel at many theses by Romanian religious historian Mircea Eliade recalls and mythologist.

It is the depth, often the abysmal human soul and its feelings of the work Dierk Osterlohs responsive not only to the history of art savvy here so much easier. The questioning for quick consumption and pure appreciation art consumer is not served by Osterloh. Only those who look for more in art and looks, perhaps even the timeless, will have to feel concerned.

It is always a timeless aesthetics behind the things that Osterloh, yes to exhaustion examined in eternal search now and then takes over again. He consistently avoids the border since the end of the 20th century Place exploration of modern art market. It is particularly rampant and reminiscent of fast food consumption zeitgeist operation that Osterloh leaves other.

Only those who investigated and questioned the fundamental questions of human existence, can be find in Osterloh. His art needs space in best and deepest sense, indeed wants to be considered at rest. Only those who "Art beyond the happenings"; far from become so fashionable `performances' still appreciates, will find it here.

With deep satisfaction can one feel lifted when viewed from Dierk Osterlohs work well, so sit back, who still has an "old eye". Among the reviewer wants to be understood the endless knowledge of the symbol diversity, not only the so-called "primitive" art, but also the prehistoric to early medieval art of the Old World, draws from the Osterlohs oeuvre. One must engage and indulge WANT, you want to understand this kind of art and also enjoy, even win a philosophical benefits beyond the day. But he who seeks finds, and here, will undoubtedly find that much of what we in modern art - and thus also on the art market! - Take for granted, ultimately is a chimera.

Dr. phil. Ulf Jäger
Archäologe
Gronau-Epe und Münster/ Westfalen 2007

 

Dierk Osterloh – a portrait

Sprawling plants, plunging angel, mask-like portraits and landscapes of nowhere in shades of off-white, olive to Anthracite beaten with a spatula until the physical exhaustion in the canvas: the artist Dierk Osterloh, who acts in the Cologne Wachsfabrik, creates an oeuvre that all categorization withdraws. Landscape painting today means more freedom than ever in the game with the forms. If the various variants of the modes of representation in the media age have also multiplied, so it is possible to discover Dierk Osterloh, new and especially sensual pictorial realities.

The artist goes into the painting not to the accidental, rather than the form of the really characteristic and Symbolic in the image. Like other painters also uses Dierk Osterloh of course the landscape as a space to explore pictorial experiments and a new form experiments. Intensive he experienced landscape by numerous trips to South Africa, Namibia, Jordan and Iceland. His landscapes are characterized by constant transformation, everything is involved in this process. Dierk Osterloh lends its design a single moment in time analogies to time and space, eternity and transience. His images are places of memory and mythical landscapes at the same time, we seem to know, and yet remain alien to us. Osterlohs figures are everyday heroes, its landscapes an icon for the truncated nature, metaphors for the struggle for existence, for existential themes such as death, loneliness, self-discovery. The painting style is characterized by a combination of dynamic and fronds schmißhaftem tearing the spatula across the canvas. The result is a relief like surface from which the figures the viewer to face dimly. Sometimes oil is thrown to the canvas in order to obtain bullet-like holes.

Just as important as the painting Dierk Osterloh sits down with plastic implement its artistic life world apart. So the artist succeeds, in search of the identity of the individual to find their own means of expression z. B. by using driftwood from the Rhine or steel artefacts from a railway graveyard. The threat of the individual coming through the encirclement of the vertical steel girders expressed. Its design language is equally archaic, timeless, eternal.

The formal language of Dierk Osterloh also includes graphic work. This includes the redevelopment of the Cologne city arms, which was implemented in stainless steel at the historic town hall and the Spanish construction.

The uniqueness of Dierk Osterloh consists precisely in artistic implement this form of wealth to reproduce without the past, but rather to create a completely independent time-critical work.

Dierk Osterloh, who was born in 1964 in Oldenburg / Lower Saxony, came on the Law studies the visual arts. He trained as a media designer in Cologne and studied at the Technical School of Arts Hamburg. He lives and works in Cologne.

Dr. Barbara Aust
ART HISTORY CONSULTING
Hamburg 2006

 

Dierk Osterloh – paintings and objects

White, blue-green, black - it's as if you walk into an ice cave in the dramas of yesteryear to crystals solidified, are banned under glass; Fissures, cracks, yawning, in which the depth lures and frightens simultaneously. But the fascination of the interior, but not abysmal, it seems to be what the images Dierk Osterlohs radiate. An important moment is rather the settled between crack and impasto-living materiality intermediate stages.

The artist operates something like? Borderlining ?, as a frontier worker who makes the transitions at the center of the image scene. He invites the viewer to prance on the edge, drives to look into the abyss; the case is not really to be afraid, because the matter is adjacent to binding to compact. A strange limbo with a hint of menace: it could ... yes ... if it would be. Potentiality is there that is supercooled bearable.

Quiet contrast effect the objects, which is due in part to the warm colors and materials. Soft power is in the organic artefacts that are integrated in a strict form. Also on them humming this stillness, a waiting, barely audible murmur. Archaic gestures strictly disciplined without being refracted. It is as if seeking Osterloh in his works each time a sound, a sound that occurs when things are in a certain constellation with each other. And the viewer accompanies the artist, if he wants to walk a tightrope of uncertainties.

Dr. Michaela Toebs
Kunstpädagogin
Köln 1999

 

Vitale complex work creations

Dierk Osterlohs painting of 1997 - 1999

Dark-colored brush and spatula strokes conquer energetically the white space. Blue, green and umber fray to melt away, cut up the inside surface. Simultaneously pierce energetic light rays opaque materiality and begin to resolve them. The gleaming white digs ever in the imponderable darkness. Dierk Osterlohs impasto paintings are dramatic structure of interacting forces.Light and dark, matter and non-matter act in the eternal power struggle of opposites.

Some images are reminiscent of magnetic images that seem composed of different fine metal shavings. The voltage richest region forms the boundary region between chips extreme density, ie the magnetic center and the non-magnetized area, dressed in the chips strands of magnetism in a slightly tremulous movement created a blurred acting vibration zone.

Nothing is static, predictable, comprehensible. Everything is gripped by a tremendous dynamism. Any material condensation is countered by aggressive guided painting style, crossover and out into the realm of speculation. The outline always remains in the diffuse.

In most work, matter develops process-from nowhere - molded or unmolded and the surrounding three-dimensional space as a kinetic sculpture. Paint layer to paint layer produced sculptural formations. have many organic forms: branches, tree stumps, insects and plants.

Since staying at the National Park "Richtersveld" in South Africa near the border with Namibia, the geometric grown Aloe Family have become a compelling motive for the artist. The blue-green, lying on the ground, large leaf rosette of lance-shaped, spiny toothed leaves developed high funnel-shaped flowers in a panicle. Dierk Osterloh it provides the viewer either almost life-size on its 2 mx 1.40 m in front of big screens or detected them in detail. His feverishly vibrant brushwork reminiscent of this resident in the tropics and subtropics plant in shimmering heat. Only irritating part in this painting is the color that is reminiscent of cold polar regions or at an overexposed, blurred photograph. Even in painting representational held resonates with the element of the unreal, elusive and thus ambiguous.

The color, the artist purposefully in reduced form. The dominant bright dark contrast will initially fall to the viewer in the eye before he discovers discreet use at second glance color mixing or high-contrast color speckles. The first purist acting works turn out on closer inspection as a complex and vielsichtiges color weave that touches ultimately foundations of life and existence: becoming, growing and passing away.

Dr. Christiane Braun
Kunsthistorikerin (MA)
Oldenburg 1999