Jeremy Olson

Jeremy Olson’s practice began with a considered exploration of geometric structure and fragmentation within portraiture. While retaining this interest in geometric structures through the presence of fictive architectural features, Olson’s practice has now morphed into an ultra-contemporary exploration of the grotesque.

Olson’s early work was heavily influenced by Cubism: his portraits were deconstructed into fragmentary parts that were then layered back over the face of his subject in kaleidoscopic patterns. These works were incredibly technically skilled and played with the mind’s ability to process and decipher sets of visual information.

Now, Olson’s practice has matured into something deeply exciting. His compositions are haunting visualisations of anxieties that are society-wide: dental imagery takes on a flesh-like appearance while figures resembling knots of hair contort and writhe before the viewer. In this regard, Olson’s current work is not unlike a combination of Nicholas Party’s pastel explorations of architecture and the rather sinister experiments with the grotesque undertaken by Julie Curtis.