Each figure has its own degree of pull, whether suspended in gradient fields of vibrant color, or anchored to a mother’s knee post-crucifixion. If they were in outer space or in the water they’d be perfect and graceful, but Olschbaur’s canvases place these bodies in a constant, glorious struggle between Newton’s law and their own fallibility.
A lifecycle is encompassed within each form-in-motion; Olschbaur’s linework is descriptive in its restraint, the minimal figures speak to the viewer, telling us where they came from, where they’re going. Drawing inspiration from Judy Chicago’s PowerPlay series, the bodies themselves are encapsulated and filled with an illuminated palette, becoming the utopian color atmospheres of which they are composed, rather than sapping their energy. With the religious resonance of William Blake’s illustrations and the tormented expressiveness of Maria Lassnig, Olschbaur’s forms possess not a light that never goes out, but rather the tumescent glow of a Sissyphusian struggle to keep their lifeforce burning every time it is nearly extinguished.
If God is light, then Olschbaur’s figures are aroused by the struggle to bask in it, to reflect it. There is pleasure to be found in stumbling toward grace, a tortured ecstasy.
Katherina Olschbaur (b.1983, Bregenz, Lake Constance, Austria) lives and works in Los Angeles, California and Vienna, Austria. Recent exhibitions include When You Waked Up the Buffalo, Nicodim Gallery, Los Angeles, USA (2020); Dirty Elements, Contemporary Arts Center Gallery, UC Irvine, Irvine, CA, USA (2020, solo); Hollywood Babylon, Jeffrey Deitch, Nicodim, AUTRE Magazine, Los Angeles, CA (2020); New Beginnings..., Nicodim Gallery, Los Angeles, USA (2020); Trans World, Nicodim Gallery, Los Angeles, USA; Galeria Nicodim, Bucharest, Romania (2019); The Divine Hermaphrodite, GNYP Gallery, Berlin, Germany (2019, solo); Horses, Nicodim Gallery, Los Angeles, USA (2018, solo); BioPerversity, Nicodim Gallery, Los Angeles, CA (2018); Formal Encounters, Galeria Nicodim, Bucharest, Romania (2018); SEED, curated by Yvonne Force Villareal, Paul Kasmin Gallery, New York, USA (2018); A Painters Table, organized with Bianca Regl, Blackbridge OFF Space, Beijing, China (2017); and Haunted by Strokes, Galerie Werkstadt Graz, Austria (2016, solo).