Bandage mechanizm Drawing

Olga was born in Moscow. She is a member of the Moscow Union of Artists, one of the founders of the art group "˜Excursus', an independent author and organiser of a 2-year drawing programme that she has been successfully teaching for 6 years. She has published 2 books on the arts, as a co-author and editor, in collaboration with prominent Moscow-based graphic artist, Alexander Livanov. Olga is trained and works in various graphic techniques: lithography, coloured pencils, crayon, as well as oil painting. Her practice is based on the so called "structurally-spatial" method, developed within the Russian art school VHUTEMAS around the 20s of the last century. This influential school has created an innovative visual system and is well-known for being linked with many stars of the Russian avant-garde. Following this approach, the artist declares that her main focus is on her visual perceptions and, while in the working process, she ignores any intellectual assumptions and practical knowledge about the world. She says that vision for her is the sense of touch from a distance, and considers the plastic tasks being the main challenge and inspiration in her work. Here she describes the artistic practice and the driving force behind it: "It is not the result that is most important for me in drawing. It is rather this very subtle moment of crossing the border between the live observation and a picture: actually experiencing the reality that is being transformed into a new conditional reality of my drawing. The main satisfaction comes from working for a process, not for a particular result. And the result of such work is just a surface that reflects this process. To some extent, drawing helps me to examine the sincerity of my behaviour, it is a sort of a self-testing means to me." Olga's work has been featured in a cultural magazine "˜Our Heritage': "This artist's works are always drawn from life, but at the same time - they are abstract to a certain degree. They are not created around the represented objects themselves; quite contrary, the object with its real colours and shapes is mainly disguised, almost un-objectified. Devoid of any entertaining storytelling or tangible motif, Olga Iordan's works are beautiful, energetic and inherently flexible. It is their sharpness of colour, expressive plasticity and unconstrained freedom of structure - that is attractive.