Merging foreground and background: Yari Ostovany

I approach my work in the studio with as much of a Zen beginner’s mind as possible, quieting the mind, connecting to a greater energy and using the energy of the gravity of the earth to push and move paint. There is a lot of pushing and pulling of paint using traditional as well as non traditional tools. ~Yari Ostovanyarbour-zena-for-keith-jarrett-oil-on-canvas-36-x-35-75-inches-91-x-90-cm-2016I start with gestural marks (sometimes calligraphic-based), solid forms and shapes which then begin to disintegrate as the layers explode and implode, are added, rubbed out, re-applied, scoured into and scraped away and built back up, expanding and developing in a rhizome like, lateral structure until the distinction between the foreground and the background and the spatial hierarchy begin to dissolve – somewhat akin to layers of memory – and give way to another, ephemeral sense of form and visual phenomena. [source]chelleneshin-no-35-oil-on-canvas-30-x-30-inches-76-x-76-cm-2016 chelleneshin-no-36-oil-on-canvas-30-x-30-inches-76-x-76-cm-2016 chelleneshin-no-37-oil-on-canvas-48-x-36-inches-122-x-91-cm-2016 chelleneshin-nr-22-oil-on-canvas-40-x-30-2015 missa-in-angustiis-v-mass-for-troubled-times-v-oil-on-canvas-36-x-36-inches-91-x-91-cm-2016 numinous-no-32-for-gurdjieff-oil-on-canvas-30-x-30-inches-2016 the-oracle-ii-oil-on-canvas-36-x-42-inches-91-x-107-cm-2016 the-oracle-oil-on-canvas-42-x-60-inches-107-x-152-cm-2016