Beatrix Ost is an internationally acclaimed artist, writer, and fashion designer. She has also written screenplays, produced movies and theater, and acted in films and on the stage. When she arrived to New York from Germany as a young adult, she quickly became an art and fashion icon – and has remained an influential and acclaimed luminary in both worlds. She currently splits her time between Charlottesville, Virginia and New York City.
Beatrix Ost arrived in New York in 1976, already an accomplished artist and actress. Since studying art with Oskar Kokoschka in Salzburg and psychology and homopathy in Munich, she has exhibited internationally: In Search of the Goddess, Ten Years of Solitude, Beauty is Harsh, Love and Other Obstacles, and Animal Attraction, to name a few. Beatrix has appeared in leading roles on both stage and screen, beginning with Protokol einer Heirat; among her credits as producer and screenwriter are Hearts’ Lonely Hunters, Killer Venus and White Chocolate. She is the author of short stories and books including My Father’s House, More Than Everything, and her most recent, The Philosopher’s Style. She also designs jewelry for Article 22, which works to fulfill Princess Diana’s wish to eliminate the remains of landmines in war-torn Laos.
Happiness, for me, emerges from the treasure trove of mental DNA, the double helices of perception and philosophy from which our inner ecosphere is built up, filament by filament. Art is provocative flirtation between reality and the playful mind. The world teases the artist’s vision and symbolism to transcend the commonplaces of fact. A wheel is more than a wheel. It is the lodging-place of motion, or perhaps a wing, a cloud, a body of water.
Provocation is part of the game: my way of self-evidently being myself is, willy nilly, a challenge to the established network of symbols, just as it is when I present myself at a party with a brooch inscribed “Practicing silence”. I become a listener. I paint as I dress: with playful order and a feel for disorder. I like it when fabric succumbs to extended use, and the same goes for the canvas. I play on it as if on an instrument between feeling and vision, I notice everything and more, and store it in my senses, visual and other. I enjoy the overflow of the moment, when the visual weds the emotional. As if I had eyes in my back. I feel everything fits together, because every moment is laden with endless possibilities.
There is a huge circus round about me, like an existential storm with the artist in the eye of it, in complete silence. Even the most elementary moments of life. I love waking up in the morning, lying back down in the evening. The face of the waiter is a drama of its own, the hairdresser a whole invention in herself, a film scene. I paint as thoughts roll by in all directions, in an unlimited cascade. I can amuse myself with what is happening around me or not, what is or what could be.
I set the stage with my theme. I sink pillars with my variations. Then I let things happen on the canvas, and as I paint, sub-melodies and subplots emerge from the great unconscious sea in which we are all swimming, and display themselves on the beach.-Beatrix Ost
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