A short explanation of the works (Explication)
2010 Inspired by the minimalist works of his friend Stefan Müller, an object emerges from two stretcher bars connected like chain stretcher frames.
Untitled. 2010. Two frames chain
In 2011 he starts working with colored duct tape according to the motto: “adhesive tape instead of paint.”
Untitled, 2012. 30×40, GAFFA tape, cutter knife, wooden color mixing palette
In 2012 he creates his first parametric adhesive tape constructs with light and shadow effects.
In 2013 Ostap discovers the use of the stencil principle to produce “stained glass window” art from packaging tape on glass or lightboxes.
FAQlove (Diptych), 2013, Packing tape, hinged window lightbox, 55×70 and 50×70 cm
He continues his spatial experiments with adhesive tape.
2015. When experimenting with adhesive tape and the working principle of a monochrome screen, he opens up new optical effects.
Ostap prefers the stencil technique because, as an ancestor of printing, it is one of the oldest methods of image transmission and reflects the international language of pop culture. In an urban environment, this fast and reusable method of image transmission resembles a magical, ritual action.
Loving art (Series), 2013-2018, Stencil, Spray paint
Loving Street Art (Series), 2018, Stencil, Spray paint
Like many of his artist colleagues, he plays with the cult symbols and characters of pop cultures: East-West; Male-Female; Cucumber-Banana (Andy Warhol); Cheburashka — Mickey Mouse, Rat…
Ostap’s artistic strategy is to archive his stencil graffiti by creating unique prints on canvas.
Ostap takes up the themes of the modern media landscape through his rather simple but concise motifs: Politics, religion, love, globalization, sexual and urban culture, and employs them with cynical humor, directly and provocatively. The artist also makes sure that his works are somewhat ambiguous in meaning. Often Ostap’s figurative art evokes feelings in the viewer, both positive and amusing, stimulating, agreeing, and on the contrary, rejecting the artist’s personal, subjective views on life. Is he a cynic, romantic, or critic? Ostap leaves this decision to the viewer.
Indulgence, 2013, Stencil, Spray paint
Bundes Holdem, September 2017 (German chancellor election), Stencil, Spray paint
Ostap often combines different techniques and works with unconventional materials. He always tries to create something new, like for example his works with optical effects, which were created by using raster-nets or fluorescent and UV inks.
Through the use of dotted nets as stencils and his examination of the perception of the dot pattern with the eye, a series of optical illusions are created on the canvas.
Imagination, 2013, stencil, spray paint, canvas 140×70 cm
Art is…, 2018, stencil, spray paint, 60×90 cm
In regards to art history, Ostap is interested in artists such as Van Gogh, Klimt, Warhol, and Banksy: these artists have become myths whose names began to work independently and set a new way for future art. His artistic method is the upcycling of modern and classical representations and interpretations.
1. Berlin Starry Night, 2014, duct tape, wood panel, 130×150 2. Still Unrest, 2015, duct tape, wood panel, 120×100
The Circles of Art, 2017, stencil, spray paint, canvas, 140×140 cm
Starting in 2018, Ostap creates a series of bas-relief self-portraits on the streets made of duct and gaffer tape. He uses the technique of domestic, misappropriated use of the material.
Selfie (series), 2018-2019, duct tape
Selfie (series), 2018-2019, duct tape
Ostap currently lives with his wife and two daughters in Berlin and continues to be active on the street, while also working with museums, and participates in artistic, social, and commercial projects. He interacts with clients in a new context.
Links (Press)
About Selfmadecrew profile on the Urban Nation Museum website: Link.
About Ostap profile on the Urban Nation Museum website: Link.