Egidio Francesco Ostani

The Critics

Mentioned by the specialized press. Witnesses of: Gatta, Belgiovine, Di Santi, Tamburi, Orsi.
They said about OSTANI:

“He is a creative and versatile artist. Every small nature angle inspires his painting. Whether in the mosaic or in the oil painting, every shading, every shadow, every added element reveal his meticulousness and hi attention. He loves the warm wrapping tonalities that may render live and concrete alla views and landscapes, soaked of nearly respirable atmospheres. Every dowel of glass is worked with mastery of technique, every colour painting transform the surface in a world to admire”

Composing paintings with glass is the speciality of Egidio Francesco Ostani, who resides and works in Rome. Some philosophers who take an interest in painting and sculpture maintain that in such cases, the artist essentially violates the matter in order to express the spirit, whether by diluting the color or by cutting into the stone.  This reflection applies perfectly to Ostani in that he tampers with glass of various colors, reducing it to small bars – with dimensions displaying varying degrees of distortion – in order to then reconstruct it harmoniously using what may be called a mosaic technique.  From time to time, canvas, masonite and other supporting materials are used.

The result is pleasing landscapes, clear skies and iridescent still life paintings -- because indeed, this is the very prerogative underlying Ostani’s creations.  He appears to have an in-depth understanding of the three illusions characterizing vision, starting with the blind macula zones of the human eye which benefit from the visual informing carried out by the brain.   In other words, we see that which we are accustomed to perceiving visually, even as a matter of genetic transmission.  With this point as a basic given, Ostani’s works provide us with a vision that is far more complex than anything the cold glass material alone could yield.   Ostani, however, is very clear on the law governing the reflection of light, which permeates everywhere – especially with a mirror effect.  As a result, it is quite difficult for the eye to see the objects as detached from the background.  In this case, as well, we are aided by the experience accumulated in our brains.

Finally, in his creations the artist presents us with a challenge which could be said to be cinematic in nature, linked to the system of reference that reconstructs the image:  depending on the angle, the mixture of reflections of light from the glass to our eye once again proposes iridescent systems of reference for the forms that we perceive.

To this we may add the concept of photometric imprecision, due to the difficulty of accurately perceiving the differences between surfaces given the iridescent luminosity of each bar of glass.  At this point we have perhaps entered, with enhanced awareness, into the conceptual process that led Ostani to choose this form of expression.  It is indeed unusual, even though the base concept stems from the pictorial experimentation at the beginning of this century and passes through such art forms as the collage and its ongoing development over the years”.

 Piero Di Santi




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