MO (Martin Ossner)
PAINTINGS - 1960s
ABSOLUTE ABSTRACT ART
MO's abstract paintings are free of all realistic imagery. Space and perspective
appear through movement of colour, lines and forms. Like luminous primeval beings.
A world of imagination arises, creating a macro or micro cosmos, depending whether
you look through a telescope or microscope.
MO believes a law of movement guides everything - a spatial order (Harmonia
mundi). His creations travel in one's imagination, beyond the painting's border,
into the unknown, into eternity. The viewer has to use all their imagination
to follow these forms into the depth and space of MO's paintings. From an early
age MO sought the unknown. To paint in pure abstract style was a natural succession.
"It is difficult to step out of the conventional, the "known".
It is the joy of venture, it is the danger, the risk which forces one to think".
||Born in Munich, Germany.
|1959 - 61
||Studied art, focused on drawing, perspective, still life
and nude with various artists in Munich.
|1962 - 64
||In depth study of abstract art with Prof. Rolf Cavael, an
associate of Kandinsky, who is recognised as the "father" of
||Travelled and painted in Australia, the South
Sea and USA.
First solo-exhibition in Sydney.
|1966 - 69
||Painted and worked in Yugoslavia, Venice and Austria.
|1970 - 72
||Lectured abstract painting and founded experimental gallery
for modern art in Johannesburg, South Africa.
||One year study tour from Capetown to Munich which encompassed
all of Africa.
||Lived in Ibiza, the artist colony of Spain.
|1975 - 80
||Managed his own advertising agency in Germany.
||Emigrated to Australia.
||Founded the Graphic Art Gallery.
||Works as a freelance artist in Sydney.
"Abstract Expressionism" originated in a movement by international
artists who wanted to free the artwork of all rules of classical painting. In
traditional painting existing forms are copied on to canvas. Since the invention
of the camera art has lost its "copy" justification. Various styles
emerged from surrealism to abstract where artists could express a new found
The absence of an objective leads first exclusively to a self characteristic
form, eg. triangle, square, circle etc., which will be broken up in a further
step into an informal object. What's left or rather what's originated are traces
of the previous forms, an abstract form.
INFORMAL - TACHISM - PURE ABSTRACT
The above three expressions are descriptions for "absolute art" -
part of abstract expressionism. Like Richard Wagner's idea of the absolute music,
absolute art is the liberty of any objective relation. Similar to composing
a piece of music, the "pure" abstract artist creates space, lines
and forms from an inner code, an inner tune to rhythm and harmonie. This process
of creativity out off the inner unknown has almost spiritual quality. INFORMAL
OR PURE ABSTRACT art is completely free of any object or form, as we recognise
it in the real world. The painter creates new forms, new beings! The boundless
freedom in such a painting event becomes pure creativity.
The viewer must engage in a meditative level away from intellectual-analytical
perception, a level through which the artwork has moved during its creation.
Only then it is possible to understand a pure abstract painting and touch the
artist's inner sound on a free flight of his sensual experiences.
In the sense of American "Action Painting" the painter can wander
artistically inside the artwork, using his body and arms expressing himself.
Action painter "Jackson Pollock's work reflects the obsession with the
own inner life. By a leap of insight he developed the idea of painting as a
pure psychological event, supposedly eliminating the gap between the subjective
world of the artist's thinking and feeling and the objective world of paint
and canvas". (Art in Context).
THE IMPORTANCE OF MOVEMENT
In Asia "movement" has a long tradition as an important criteria for
judging art works. One of the oldest criteria of Chinese aesthetic are the rules
of painting, manifested by the critic "Hsieh Ho" in the fifth century:
"Spirit - Rhythm - Life - Movement" (ch'i - yun sheng - tung). He
explains that brush and paint trace every motion of the hand, reacting to any
friction. The movement must be in full swing, because hesitation can immediately
be seen in the arising form. Speed, force and rhythm of the event will be noticed
in the result. The lines confer their origin. Their vitality results from the
energy of its beginning.