Rhythmic, melodic, and harmonious structures from the simplest materials and methods belie Tasha Ostrander's process-oriented constructions in a multitude of mediums. Thematically, the work will always explore some aspect of where we stand in relationship to Nature, as in our external natural world, and our inner nature, as in consciousness. The work reflects transformations of the inner self and the shimmering fractals of nature- spacial magnitude, if you will, an extension of the spirit and body in several dimensions of space. Like a paper wasp, chewing organic materials into pulp and constructing a complex geometrical nest, the art is a daily practice that embraces and encompasses repetitive acts and discipline, working through the process of creating large tondos and photographic or environmental installations. A bigger reality emerges, that of balance between the spirit and material worlds.
Commitment, process, and practice have been important aspects of Ostrander's work, and during the last decade and a half she has produced very large installations in which alchemy and transformation have been front and center. She has used these basic concepts to visually express the idea that energy and material can be refined, redefined,and organized into a higher expression of environment and perception. Also, as in alchemy, there is a constant shift in the perception of micro and macrocosms. In the spiritual sense, this gives great credence and power to the ability to observe that which is base and simple, and to be able to reinterpret these things into large lessons or large environmental transformations. A work that exemplifies the spacial magnitude of this practice is a 10 foot in diameter tondo covered with 26,645 handmade paper butterflies, images from old field manuals, representing the 26,645 days of an average human life. Attention to rhythm, meditational repetitions,mathematical balance, and time- based works, are mechanisms Ostrander uses to skate between simplicity and complexity, internal and external realities. Her work always has a regenerative aspect to it. The work is about balance, expansion, and connection.
Seventy Three in a Moment, 1996
26,645 Handmand paper butterflies representing each day of a 73 year lifetime.