Olivia Walker: Artist and Author
Heart to canvas, mind to page
Bones, birds, and brave stories
Contextual Statement:
My practice is a carefully curated corpus that functions as a voice and embodied extension. This body of work operates across spectrums of conceptions and multiple dialectical tensions—positive/negative, confrontational/veiled, real/unreal, transcendent/abyssal—serving as somatic and shadow manifestations of selfhood. My creative practice offers both refuge and liberation from the irrationalities of lived experience, particularly as mediated through the phenomenological lens of OCD, anxiety, and trauma.
Poetic veins run through my work, transmuting private politics into public discourse, fostering empathic resonance and interpersonal connectivity. Through multimedia compositions, characterized by symbolic density, semantic collage, and transformation of familiar subjects, I interrogate notions of value, identity, and habitual patterns, revealing turbulent emotional territories through visually controlled presentation. Through the perceptual framework of OCD, I've constructed visual narratives where avian forms emerge from stone fruits, deploying metaphorical constructs such as distorted, irrational beliefs. I include colloquial expressions such as "a little bird told me," sparrows as protective entities, “you can lead a horse to water...,” and bridling something/someone, reflecting disordered cognitive patterns or maladaptive belief structures emergent from nature and nurturing. My compositions function as palimpsests—visually cohesive exteriors concealing interior landscapes of disquietude.
My material practice integrates clay, cast resin, acrylic paint, natural materials, and textual elements, recreating or materializing the intangible. Recurring motifs include avian, equine, anatomical, and figurative imagery—reflecting the tension between constraint and freedom—alongside figurative elements and mundane artifacts recontextualized within mental health discourses. The work is characterized by repetition and quotidian imagery. Its efficacy resides in artistic, spectatorial reflection/realization, each piece contributing to an anthology that facilitates catharsis while establishing purpose.
This confessional portfolio emphasizes disorders and relational dynamics, challenging societal perceptions of mental health. By creating visceral, mixed-media representations, I’m participating in the larger artistic movement dismantling shame and secrecy around mental conditions. My use of natural imagery and dark undertones serve as metaphors for how mental health challenges are simultaneously natural yet often hidden in shadows. Society ordinarily masks the uncommon or uncomfortable.
My narratives evoke melancholy, cognitive dissonance, and discomfort as well as occasional transcendence or hope. The act of making private experience public doesn’t diminish its sacred dimensions but rather affords it space and legitimacy within broader discourse. Unlike predecessors who embrace transgressive or provocative aesthetics, I present controlled chaos within beauty. Initial perception suggests serenity, but sustained engagement reveals subtle disruptions of normative order. Drawing from the theoretical frameworks and visual vocabularies of confessional artists, expressionists, surrealists, and poets, I examine perceptual processes and interstices of subjective experience and objective reality.
I aim to normalize and destigmatize phenomena that aren't understood or addressed. My work transcends mere therapeutic exercise to become an invitation for subsurface, authentic communication within cultural and social settings that frequently privilege polished façades and ubiquitous ideologies. Weaving together fragments of my life, documents of the contemporary human condition, artworks become artifacts that reveal cultural attitudes toward emotion, vulnerability, intimacy, survival/coping strategies, and mental health at this moment in history. Art holds the power to bridge divides, inviting viewers to recognize themselves in others' stories, developing empathy—not as passive sentiment, but as active engagement with different perspectives. I strive to illuminate the connective tissue binding us despite apparent differences, challenging viewers to consider how individual journeys and dispositions contribute to the broader social fabric, engendering stronger relationships.
Bio:
Olivia Walker is a visual artist and writer, born in New York City and raised predominantly in California. Her work portrays her experience with OCD, and her practice has aided her in finding solace. She has learned to embrace the positive qualities that stem from the diagnosis. In her writing; her narrative of scene and summary, her poetry, and complex literary pieces, she considers and addresses a multitude of struggles: obsessions, compulsions, triggers, and depersonalization/derealization that come with OCD. She strives to find the balance between the grotesque and beautiful and discomfort and solace. She investigates the dialogue and dichotomy between intimacy and opposition, structure and ruin, reality and unreality, and inner battles with order and chaos. She hopes her intricate, picturesque, vulnerable, metaphorical, and insightful writing can act as exposure and a tool for moving on, accepting, and escaping her past, as well as a platform to de-stigmatize mental illness.
About:
She has learned that it is crucial to consider both the manipulation of materials and the installation (use of space). She utilizes sculpture to create literal and metaphorical representations of subjects that her brain highlights. An example of this practice is a wax gummy bear casted in metal, and then placed on several tongues to represent the variation in semiotic value or experience. She also formed an installation that incorporates text and hand-made ceramic toilet paper rolls, placing emphasis on contamination compulsions. She attempts to fabricate an experience for viewers by recreating my obsessions, compulsions, and anxiety in a discernible way. Her work is inspired by the semiotic value of objects, triggers, and the relationship between trauma and perception.
The work she creates is a collage or combination of transmutation, construction, drawing, and text. She challenges herself to work with media such as clay, metal, paper, and found material to investigate the dialogue and dichotomy between intimacy and opposition, structure and ruin, reality and unreality, and order and chaos. While the conceptuality is personal, artists she studies inspire her to explore audience participation, space, and unusual materials such as soap, bodily fluids, and textiles. Through reading web articles, excerpts from biographies, and transcripts of interviews with artists such as Ana Mendieta, Yayoi Kusama, Andy Warhol, Helen Chadwick, Judy Chicago, and Janine Antoni, as well as traveling to various galleries and museums (such as The Tate, Lisson, and Saatchi), she accumulated an abundance of knowledge to strengthen and inform her artistic experimentation. She researched the nuanced overlap between interior and exterior lives. She wants to investigate the hidden aspects of individual reality and psychology.
As someone who enjoys traveling, she take advantages of visiting various cities around the world to stretch her artistic awareness. She wants to deepen her knowledge of conceptual and contextual practice, as well as experiment with material technique.
She intends to use her story, both with its failures and successes, to model a path to help others. She hopes her work (both visual and literary) can help herself and others.
CV:
Therapeutic art program-workplace pilot program, remote, San Francisco, California
Gallery Associate/Intern, Latitude Gallery, New York
Art Packer, Cadogan Tate, Brooklyn, New York
Director of art camp, Ross, California
Bus Girl/Cashier, Gott's Roadside, California
Art/Design Intern, Zandra Rhodes, London, UK
Education:
Unlicensed-Applying to Art Therapy Master Program
Central Saint Martins, University of Arts London BFA
Interlochen Arts Academy, High School Diploma