Welcome to Dulce Osinski's portfolio
Dulce Osinski - 2016
30,00 cm height x 30,00cm width x 0,50 cm depth
USD 295,00
What you see is what you pay: freight is included in the price of the works stated above
You will receive this work mounted and stretched on its frame, properly packed.
7-day guarantee for return of your money
Delivery period: 20 to 25 days to any country outside Brazil
The work of art is sent directly from the artist’s studio in Brazil to your home
Product code: 14411
THE ARTIST
Dulce Osinski
“No man is an island, entire of itself; every man is a piece of the continent, a part of the main.”
The words of English metaphysical poet John Donne, published 1624, seem to summarize the art of Dulce Osinski – who absorbs multiple influences coming not only from other artists but from the whole of life.
She contests the idea of ‘movements’ as her inspiration – she believes we are made up of a mosaic of information and are always relating other people’s acts and works to our own, giving them new meanings – sometimes general perceptions, sometimes details. The artist is open to the world: her ideas may spring from a visit to an exhibition, a news report, a piece of advertising, a walk in the park, an experience of life.
“Seeing art inspires me, whether by those already famous, or brand-new,” she says.
Born in 1962 in Irati, interior of Paraná State, in 1985 she went to Poland, on a study grant awarded due to her ancestry, for a two-year post-graduation internship at the Kraków Academy of Fine Arts.
She reports this as one of her most excellent experiences, both in learning and as an experience of life. The history of that country, that suffered so much, put her in contact with the stupidity of authoritarian regimes – such as Nazism (which transformed Poland into a horrific war zones in World War II); and communism – subsequently implanted without the people being consulted. This gave her an aversion to any type of extremism, intolerance or prejudice.
“Our human rights are non-negotiable values, and it’s by them I’m guided,” she says.
She deals with a varied range of subjects in contemporary society, from false moralism and today’s consumer society to the hypocrisy of speeches about violence, especially guns – and more recently, themes of the geographical space we inhabit, and its appropriation by digital means. She is interested in gardens – nature as organized by humans. Her motivations are in human beings’ contradictions, expressed in their thinking, attitudes and work.
Dulce’s work explores two-dimensional means of expression, in particular painting, drawing, prints – with occasional excursions in photography. She likes dialogue between these languages, experiments with the same projects in different media. This freedom of expression is inherent to her soul.
She was always independent. As an infant she would draw in ballpoint on the legs of her aunt Maria Eugenia (who was living with the family, preparing for university entrance) – “In the 1960s women wore skirts,” she says, “so for my aunt this meant spending long hours rubbing out my dolls...”. In all her teenage years, she took lessons in guitar – and painting: her teacher, the artist Ida Hannemann de Campos, gave her a taste for modern and contemporary art. She tried various techniques – drawing, painting and even some prints, and at the same time attended the Alfredo Anderson Museum studio, learning from Luiz Carlos Andrade Lima, one of the great names of painting in Paraná.
Later she studied architecture, but decided to go full-time to the Paraná State School of Fine Arts. After higher education she attended the lithography atelier of the Casa da Gravura (House of Prints) at the Solar do Barão, where she came into contact with graphics – passing days and sometimes nights with friends in animated research and production. She recalls this as one of the most valuable periods of her career. Back in Brazil after studies in Poland, she decided to ally the careers of teacher and artist, and until 1989 was a tutor in prints at the Solar do Barão, and a teacher at the Paraná State School of Fine Arts.
She began an academic career in 1990, joining the Arts Department of Paraná Federal University (from which she has a master’s degree and doctorate in education). She says contact with students complements her creative activity, as it puts her in constant contact with discussion and debate. “Freedom of expression and respect for the other are the highest values of a culture that aims to be civilized,” she says – and has fostered this principle in her teaching career, as well as in her career as an artist.
In 1995 she attended a course in art education at the University of Tennessee at Chattanooga, in the US.
She has had more than 20 solo exhibitions – including the International Press and Book Club in Jelenia Góra, Poland, and the Paraná Museum of Contemporary Art in Curitiba – and a large number of group exhibitions, including: the Brazilian Printmakers’ Collective at the Prints House, Middleton, Ohio, USA; and exhibitions at the Puste Blumen Gallery, Berlin; the Himeji City Museum of Art, Himeji, Japan; Miniart 91, in Olofström, Sweden; and the Mairie of Massy, France.
Her many awards include: the 47th Salon of Paraná State, the 10th Mostra da Gravura of the City of Curitiba, and the First National Prints Exhibition at São José dos Campos. Her works are in various collections of museums and institutions in Brazil and worldwide, including the Federal District Arts Museum (Brasília), the Paraná Museum of Contemporary Art, the National Library of Rio de Janeiro, the Australian National Gallery at Canberra, Australia, and the State Museum at Majdanek, Poland.
Ideas of freedom and independence are part of her life story. As a teenager she danced in her town’s Polish Folklore group; she has played the "cavaquinha" (a small Brazilian guitar) in the town square, hugged Pope John Paul II, and made her first trip to Europe in a cargo ship. She likes cycling, and any physical activity involving water – she’ll do anything for a good dive. She loves cooking, but does it as an artist – no recipes. Ready-to-cook recipes are definitely not her thing.
She says: “Art is extremely important as a medium for social and cultural criticism, as well as making experiences available to all – both those producing and those witnessing them – that are outside the domain of the verbal and the day-to-day."
STILL HAVE ANY DOUBTS? WE'RE HERE TO LISTEN TO YOU!
invest in culture: acquire a work of art from one of our artists – or give a gift card to someone special!
works by Dulce Osinski
you can also be interested in reading
READ MORE
READ MORE
READ MORE
works by
Dulce Osinski
