The bodies in front of you are completely detached from their natural surroundings. Olja carefully deprived them of the entire space in which they abide; deprived them of rooms, furniture and objects that surrounded them. She freed them from all the meanings that characterize their everyday lives. She highlighted their bare physicality and action. Asocial physicality and movement that stems from it represent the base for Olja, the smallest common denominator from which social relations are then built. Those relations can grow in different directions: in the direction of the freedom to express one’s own thoughts, i.e. in the direction of sensuality, where they become the link with other bodies and their surroundings. They can grow in the direction of violence, control over others, and be the basis for obtaining power. Regardless of the direction in which consequential relations grow, for her they are always subject to an individual’s active decision.
found themselves in a world saturated with meaning. In a society permeated by balance of power. In them the body is limited by prejudices, which serve as a means of control of others. The exhibited bodies of women and homosexuals are the ones on which balance of power is the most vividly expressed. From her point of view, a point located in an increasingly conservative environment with more and more aims of idealized traditionality, where the woman is forced to be mother and saint, in which expressing non-heteronormative sexuality is increasingly considered degenerative, the body is the point of liberation to which the artist returns.
Physicality purified of all social prejudices represents to her the point from which relations of acceptance and freedom can be woven again. For this reason Olja’s bodies are colorless. They offer the viewer a chance to color and revive them in his or her imagination. Olja’s bodies are playful and free, purified of prejudices, control, and as such are ready to return to our world.