DeWitt Cheng, artist, collector, co-editor at the San Francisco Art Magazine, educator, and curator wrote about Ostovany's work:
"Yari Ostovany’s luminous abstractions, with their mists of colored vapor dispersed here and there by soft-edged vistas of paint drips running at right angles—the Cubist grid as orthogonal precipitation—may remind viewers of the charge leveled in the early nineteenth century at Turner’s effusions or even explosions of color, “paintings of nothing or very like.”
Abstraction is now the orthodox style of a half century ago, but Ostovany’s free, experimental approach is irresistible, and gives the genre, which has had its facile practitioners, new life and immediacy—and numinous, transcendent meaning. If abstraction was once touted as a universal visual language, and then denounced as peculiarly individualistic (read: American), the Iranian-American Ostovany demonstrates that painting is a renewable resource, and that even a style that was marketed as pure painterliness, i.e., optics without representation or narrative, can serve ends other than the expression and exaltation of the self."
Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary mystical traditions.
He looks toward elements of Western and Eastern art, literature, spirituality, poetry and music to create an environment and a mindset conducive to his process, which is connected to Abstract Expressionism and Color Field painting.
This work is part of the Fragments of Poetry and Silence series.
As suggested by its title, and whilst it may not be obvious at first sight, there is a clear and interesting relashionship between this artwork and the colors and compositions of a number of works by Giorgio de Chirico, such as, for instance, L'Enigme du Jour.
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Yari Ostovany is an Iranian-American abstract painter, known for his explorations of the alchemy of paint, color, light, texture and the poetics of space.Read More
160 FERNHEAD ROAD,
United KingdomRead More
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