Pierre Courcelles,  French art critic


«...The works Ossaba presented at the 1985 Biennale in Paris presented a sharp criticism and also an act of painting on «The Balcony Grass» and « Breakfast on the Grass Grass» by Manet. One feels a kind of puzzled rage, as if what's there is a work of hate and love at the same time. As if Ossaba showed us with naked irony the masters of our historical pictorial references. We think of them as subjects of respect, but he shows them to us only as subjects to be painted; he prepares us to reevaluate our own patterns and conventions. Mario Ossaba is one of those artists who gives us a new vision of our own historical culture, revealing them to us as what they can't be: simply content with themselves and also dominant. With his work he tells us that painting belongs to all painters of all countries, and that artistic frontiers are only stopgaps.»


« One Saturday of September 1987 in Ermont, outside Paris, Mario, Maria-Piedad and Jupiter sunbathe in the garden next to the studio. Jupiter is almost two months old and is the pride and joy of his father, he has become almost the sole subject of his latest paintings. For the last several months, Ossaba has been painting Madonnas with or without a child. These paintings glorify nature, as if the woman and child were one and the same. No doubt Ossaba’s profound thought seeks the meaning of life through his painting. That sense is also present in his other paintings where the landscapes are dominated by an immense wagon wheel, the wheel of life and destiny; the symbol of the roundness of woman and our planet. And sign of the presence of man. »


«...This iconoclast painter violates with jubilation the European artistic patrimony which he has extensively studied – paradoxically, the images he shows us possess calm and serenity in this series titled, 'A Day in the Country’.»

Pierre Courcelles