I wish you much pleasure in viewing my works
Destiny Bridge into Paradise Gray Image Worlds by Dierk Osterloh
Duration and finitude are at the center of the artist's works, which can be seen in St. Theodor, Cologne.
Technical upheavals shape the face of the post-modern world. And in the midst of the ever-changing process of change in culture, the feeling for the world in primeval times becomes ever more difficult. If there were not the old stories. And if there were not the pictures, with which artists animated again and again the fantasy of the past. After all, not only the invention of new worlds and perceptions is a concern of contemporary art since modern times. Another is not to be cut off from the continuity of an ancient experience that remains delicately connected to the weight of the world. Such pictures have been painted by Dierk Osterloh for years, and some of them are currently exhibited in St. Theodore's Church. They are very sensual in their material presence. And at the same time they are enlivened by a mysterious glow that brings the effectiveness of the invisible into the field. These picture worlds are gray, made of black and white and the infinite nuances in between. With rude determination, the artist residing in Rodenkirchen brings the colors to the big canvases. And he paints them with restless vehemence, just to make it obvious how much man has to find comfort. Nature stands on one side of his motives, as expressed in the dynamically powerful growth of an aloe plant. She comes almost explosively from the earth and strives with light flowers towards the sky. Culture as the means of man to assert oneself against the thundering forces of nature that are pulling in all directions stands on the other side of the motives. Osterloh made a striking statement in the image of a shadowy man rowing on the moving, large sea, while ghostly faces threaten him like a thunderstorm. This composition, called "Last Passage", is Osterloh's answer to Arnold Böcklin's painting "The Island of the Dead". In 1880, Böcklin had painted the motif of a lonely rocky island as a "picture for dreaming", which was supposed to appear as a symbol of salvation and the sinister threat. An equally striking motif is Osterloh succeeded with the image of the "Cinvatbrücke". It goes back to a story of ancient Iranian Zoroastrianism. After that, people only come to paradise via this destiny bridge. However, only those who have led a just life make it. The others rush into the water in the middle of the razor-sharp bridge. oil finds is equally interested in cultural history and art. In his painting he masterfully combines the ancient narratives of religion and the eternal artistic magic of the unspeakable. And presented in a church space, such an approach inevitably receives that existential dimension that threatens to be increasingly lost to art in the stereotypical effects of current event culture. St. Theodor, Burgstrasse 42, Sun 12-13, until 28 February 2009
Jürgen Kisters Kölner Stadt-Anzeiger 24.02.2009
Dierk Osterloh – Rezension Oeuvre
It is not enough to look for beauty in art behind Dierk Osterloh's painterly and sculptural oeuvre. Two key messages from the artist give enough of this: My pictures "reflect the inner sides of my being - are therefore an expression of my soul, as well as the sculptural work:" Even with the objects, my intention is to touch the foundations of life. "The viewer feels here involuntarily, inevitably reminded of the "collective subconscious" and the "archetypes" CG Jung.Mag's work is today in need of revision, yes obsolete, so a certain kinship here in the eye, as well as one feels at many theses of the It is the depth, not infrequently the abysmal of the human soul and its sensitivities of the work of Dierk Osterloh, which not only appeals to the art savvy here so immensely Osterloh not served, only those who are more interested in art he looks and sees, maybe even the supernatural, MUST feel addressed. It is an always timeless aesthetics behind the things that Osterloh seeks in eternal search, even to the point of complete exhaustion and then finds again and again. He consistently avoids the exploration of the modern art market that has taken place since the end of the 20th century. Here it is especially the sprawling and to fast food consumption reminiscent Zeitgeistbedienung that leaves Osterloh to others. Only those who seek and question the basic questions of human existence can find something at Osterloh. His art needs space in the best and deepest sense, yes, it wants to be considered in peace. Only who "art beyond the happenings"; Beyond the so modern become `performances' still appreciate, will find it here. With deep satisfaction the one who looks at Dierk Osterloh's work can feel comfortable, even lean back, who still has an "old eye". By this the reviewer wants to understand the almost infinite knowledge of the variety of symbols, not only of the so-called "primitive" art, but also of the prehistoric to early medieval art of the Old World, from which Osterloh draws his oeuvre. You have to get involved and surrender, if you want to understand and enjoy this kind of art, even gain a philosophical benefit beyond the day. But those who seek and find here will undoubtedly discover that much of what we do in modern art - and thus also in the art market! - accept as a given, after all, is a chimera.
Dr. phil. Ulf Jäger
Gronau-Epe und Münster/ Westfalen 2007
Dierk Osterloh – A porträt
Sprawling plants, falling angels, mask-like portraits and landscapes in nowhere in gradations of broken white, olive to anthracite with a spatula to physical exhaustion beaten into the canvas: the artist Dierk Osterloh, who works in the Cologne wax factory, creates an oeuvre, the escapes categorization. Landscape painting today means more than ever freedom in playing with the forms. If the various variants of the modes of representation in the media age have multiplied, Dierk Osterloh succeeds in discovering new and, above all, sensual pictorial realities. For the artist, painting is not about the contingent, but rather about the form than the actual characteristic and symbolic in the picture. Of course, like other painters, Dierk Osterloh uses the landscape as a space to explore artistic experiments and try new forms. He experiences intense landscapes through 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 his design a single moment of duration in analogies to time and space, eternity and transience. His pictures are places of remembrance and mythical landscapes that we seem to know and yet remain foreign to us. Osterloh's figures are heroes of everyday life, his landscapes a symbol of limbed nature, metaphors for the struggle for existence, existential themes such as death, loneliness, self-discovery. The Malduktus is characterized by a combination of dynamic fronds and tearing the spatula tearing over the canvas. The result is a relief-like surface, from which the figures step against the observer. Sometimes, oil is thrown onto the canvas to create bullet-shaped holes. Equally apart from painting, Dierk Osterloh also deals artistically with the plastic realization of his lifeworld. In this way, the artist succeeds in finding his own means of expression, in search of the identity of the individual. B. by the use of alluvial wood from the Rhine or steel finds from a railway cemetery. The threat to the individual is expressed by the clasping of the vertical steel girders. Their formal language is archaic, timeless and everlasting. The formal language of Dierk Osterloh also includes graphic works. This includes the redevelopment of the Cologne city coat of arms, which was realized in stainless steel at the historic town hall and in the Spanish building. The uniqueness of Dierk Osterloh is precisely to artistically implement this wealth of forms without reproducing the past, rather to create a completely independent time-critical work. Dierk Osterloh, born in 1964 in Oldenburg / Lower Saxony, came to fine art through the study of law. He completed an apprenticeship as a media designer in Cologne and studied at the Technische Kunstschule Hamburg. He lives and works in Cologne.
Dr. Barbara Aust
ART HISTORY CONSULTING Hamburg 2006
Dierk Osterloh – Bilder und Objekte
White, blue-green, black - it's like stepping into an ice cave where the dramas of bygone times solidify into crystals, banished behind glass; Cracks, cracks, claws, in which the depth lures and at the same time scares. But the fascination of the inner, the abysmal does not seem to be what the images of Dierk Osterloh radiate. The essential moment, on the contrary, is the intermediate stages between crack and impasto-living materiality. The artist operates something like? Borderlining ?, as a frontier worker, who places the transitions at the center of the image. He invites the viewer to prance on the edge, drives to the bottomless view; The case is not really to be feared, because the adjacent matter is too binding, too compact. A peculiar state of limbo with a hint of threat: it could be ..., yes, if ..., it would be. It is potentiality that becomes sustainable undercooled. On the other hand, the objects are calm, which is partly due to the warm materials and colors. Gentle power lies in the organic finds, which are integrated into a strict form. Above them, too, is the silence, a waiting, barely audible murmurings. Archaic gestures strictly disciplined without being broken. It is as if Osterloh always seeks a sound in his works, a sound that occurs when things are in a certain constellation to each other. And the observer accompanies the artist, if he wants to, on a tightrope walk of the imponderables.
Dr. Michaela Toebs
Arthistorian Cologne 1999
Vitale multilayered creations Dierk Osterloh's paintings from 1997 – 1999
Dark-colored brushes and spatulas energetically conquer the white space. Blue, green and umber fray, break, cut the clear surface. At the same time, energy-charged light rays pierce the opaque materiality and begin to dissolve it. The brilliant white digs steadily into the imponderable darkness. Dierk Osterloh's pastose paintings are dramatic structures of interacting forces. Light and dark, matter and non-matter act in the eternal power struggle of opposites. Some pictures are reminiscent of magnetic images that seem to be composed of different fine metal shavings. The most stressful region is the boundary between extreme chip density, i. the magnetic center and the non-magnetized area, where the filament strands attracted by magnetism create a blurred vibration zone in a slightly trembling motion. Nothing is static, predictable, comprehensible. Everything is seized by a tremendous dynamic. Any material condensation is counteracted by aggressively conducted maleduct, outcrossed and led into the realm of the speculative. The outline always remains in the diffuse. In most works, matter evolves processually out of nothing - it forms or evades itself and the surrounding three-dimensional space like a kinetic sculpture. Paint layer by paint layer create plastic structures. which often have organic forms: branches, stumps, insects and plants. Since a stay in the "Richtersveld" National Park in South Africa near the border with Namibia, the geometrically grown aloe plants have become a captivating motif for the artist. The blue-green, lying on the ground, large leaf rosette of lanceolate, thorny toothed leaves develops tall funnel-shaped flowers in a panicle. Dierk Osterloh either presents the viewer almost life-size on his 2 m x 1.40 m large canvases or captures them in detail. His feverish-vibrating style reminds of this tropic and subtropical plant of shimmering heat. The only irritating element in this painting is the colourfulness that makes one think of cold polar regions or an overexposed, blurred photograph. The element of the unreal, the unfathomable, and thus the ambiguous, also resonates in the representational painting. The artist uses the color deliberately in a reduced form. The dominant light-dark contrast should initially catch the eye of the beholder, before he discovers discreetly used color mixtures or high-contrast color specks at second glance. The works, which at first seem puristic, turn out to be a complex and multi-faceted color swatch, which ultimately touches the foundations of life and being: becoming, growing and passing away.
Dr. Christiane Braun Kunsthistorikerin (MA)