The title of this year’s exhibit, “Abgestempelt,” comes from the
German word “abstempeln,” which has a literal and a figurative
meaning. The first is to rubber stamp something. The second is to
label, usually negatively and permanently (Duden).
Marita Windemuth-Osterloh's installations and portrait
sculpture reflect on the mind and on people’s psychological space.
She seeks to inspire respect and understanding for people who are
often marginalized in society. Imbued with vulnerability and beauty,
her subjects confront the viewer with identity issues, but are never
sensationalistic or voyeuristic.
Franz-Josef Osterloh uses a method he calls “additive imagery,” a
combination of painting and graphic art. Currently, “stamp prints”
are his preferred medium. Having made his first woodcut, “Blinder
Orpheus” (Blind Orpheus), with three color plates in 1967, he now
creates prints incorporating many small wooden or linoleum stamps as
well as digital images. Osterloh’s collages feature a unique visual