He examines the way in which the condition of the built environment reflects our society and how architecture and urban design relate to external influences and factors that define a certain epoch. Ostrowsky considers fragments and found objects as time capsules, which contain and preserve traces of their past and the ‘genius loci’ of a place. They allow memory, knowledge, and perception to merge. He focuses on the material aspect of places, especially the potentials of dissolving architectures. Guided by phenomena of abstract imprints into urban landscape through natural processes such as corrosion, erosion or oxidation, or man-made occurrences such as construction, vandalism or habitation, Ostrowsky is concerned with transferring structures of urban life and strategies of temporary architecture to sculpture while emphasizing processes of transformation and appropriation of a place as a reflection of the dynamic dissolution of an all too rigid order and a reaction to the notion of static perfection of the built environment and the formalism of a city. His sculptures help us to visualize the material appearance of humans and their temporal agency with the built environment. Furthermore they confront the narrative of modernity as constant technological progress with a post-urban vegetation that reflects on the latent narrative potential of loss in our hyper-modernistic world and tells of the end of a system that has ultimately collapsed between the friction of nature and man.