Often aiming the camera downward to gaze along her bare or nylon-clad legs, she constructs captivating perspectival lines of sight, extended into the beholders space by the acrylic-glass frames. Striking a variety of poses before and for the camera, she handles assorted propsglass vessels, papers, adhesive tapes, and found objectsthat signal gender-specific or androgynous qualities. Although the artist presents herself in her studio, her pictures refuse to be read as self-portraits strictly speaking, instead scrutinizing her bodys interactions with her workplace. The basic material and key motif of these works is invariably her own body. Her constructed photographs present wide-ranging illustrations of how she lives, moves, and evolves within the parameters of her atelier. Sculptural considerations and the act of making plastic art are also the point of departure for Olsons work in photography. Like many of Olsons works, the elements also take the beholders presence into accounttheir dimensions and hanging are carefully tailored to respond to his, her or their body and field of viewmaking the audience part of the work. The visible structural material of the rear-side walls suggest a technical-functional reality behind the scenes the interior surfaces of the assembled corners, meanwhile, become the screen on which the drama of the painterly application of crèmewhite color plays out. The elements themselves function as a kind of stage. The expansive lateral walls of the elements both delimit the niches and mark the square at the rooms center, hinting at a distinctive space within the space. The four corner reliefs pick up on the rooms unusual ground plan, which has the shape of a Greek cross, and engraft themselves into it by extending the inward-facing vertices.

The group of sculptures Reciprocal Fixtures in the first room embodies Olsons reading of the settings specific qualities.

Vienna secession characteristics