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Artists CV    artwork
Amy Olds

Amy Olds
b. 1965, Washington, DC

Commissions/ Awards/ Residencies

Shortlisted for Royal Academy Summer Exhibition, 2007
Corporate commission, August 2003
Private commission, June 2003
Private commission, May 2003
Shortlisted for John Moores Painting Prize
Nominated for Becks Futures Prize, 2001
Residency at Arteleku, San Sebastian, Spain, 1998

Solo Shows

Pond Galleries at Leigh Buckland, Clapham Old Town, June 2004
Pond Galleries at Leigh Buckland, April 2003
‘Domestic II’, 164 Ferndale Road, London, 2001
‘Domestic’, 12 Courtenay Square, London, 1999
Laocoon Gallery, Rivington Place, London, 1997

Group Shows

Coningsby Gallery, London, April 2007
The ART Show, Menier Gallery, London, September 2005
Brighton Media Centre, Brighton, December 2004
Stroud House Gallery, Stroud, Sept 2004
Affordable Art Fair, March 2004
Pond Galleries, 2002-present
Fresh Art Fair, Business Design Centre, London, 2002
Arteleku, San Sebastian, Spain, 1998
Fairhursts Design Launch, King Street, Manchester, 1996


MA Fine Art: Manchester Metropolitan University. Manchester, England, 1997
BA Fine Art: Virginia Commonwealth University. Richmond, Virginia, USA 1987

Statement Amy Olds

My inspiration when making a painting is in the process itself. I see the painting as the outcome of a performance—one in which I’m acting within opposing attitudes of freedom and discipline and changing my pace from fast to slow mark-making. The end result is an ambiguous surface where energetic and calm actions push and pull against one another.
Working with poured acrylic or thinned oil in the initial layer, I manipulate the wet paint using squeegees and tilting the canvas to encourage the direction of flow, but allowing accident to reign. I then return to the canvas once it’s dry and, with thick oil paint, create blocks of pattern or texture that enclose the shape, acting both as background and foreground, and continuing around the edges of the stretcher. The painting is at once a solid 3-dimensional object and a fluid, moving pictorial space.
Despite being process based these paintings are not entirely free of decorative manipulation. My use of repetition and pattern derives from my interest in creating a different pace within the work for viewers to engage with and different focal points for them to discover. The choices I make about the colours and shapes are purely aesthetic but at the same time a tool with which to slow down the speed of perception and create optical challenges. Texture and colour relationships become tactile elements that contribute to the overall feeling of the painting while the patterns refer to the canvas fabric upon which the painting sits. The substance of the paint itself and the rawness of the mark-making form the textural variations that add to the visual depth of the work.