Olivia builds her paradisiacal gardens on the philosophic principles of Zen gardens. Doing both spiritual and substantial researches together, she is continuously creating symbolic structures wich draw their strenght of efficiency from a fine stabilization between differences and co – existence of physical and spiritual, concrete and general, conceivable and inconceivable. Through very concentrated on the materials themselves, their physical substantiation and plastic characteristics, the artist reveals symbolic and imaginary, thus making "fictional surplus" which again makes her objects auratic. Just such "surplus" which comes from a refined mutual combination and subjugation (never confrontation) of material and immaterial structures shows us Olivia's extremely sensitive feelings for materials.
This time, the artist builds her imaginary spaces from clyrit and cardboard. She makes wavy, rhythmic textures on a monochrome or partly painted cardboard with repetitive, almost mantric pricks of a wood carving tool. Such non-mimetic forms which refer to the substance of material itself and spiritual meaning too, are placed between two clyrit boards. The artist has structured linear nets with a whitish spray on the front board which with their structural subtlety remind of drawings of a piercing ice attached.Shadows of drawings cast upon the clyrit board behind the cardboard are changeable depending on the light in the room the objcts are placed in.
With her works, the artist in no case offers us a transfer through space and time. She does not take us to the past or the future. Instead, she is now and here giving us paradisiacal gardens which might only remind us that art only can be replaced by reality that is by a parallel reality which could be our deep and intimate strategy of spiritual existence and survival.