Susan Hayward
Artist of the Week
Meaghan Olinski
By Siobhan Watters
Posted November 13th, 2007.
Waterloo artist Meaghan Olinski was courteous enough to answer some questions regarding her striking portraits of bygone starlets.
MONDO: When did you first become interested in Old Hollywood, and when did this interest translate into inspiration?
Meaghan Olinski: I suppose that it is not exclusively Old Hollywood that I find attractive but generally the era itself. My admiration and fascination (and perhaps even obsession) are not only evident in my work but also my life. It's not something I only think about when I am in the studio; instead, it's an ongoing fixation for me, one that I've been working through for quite a few years now.
MONDO: I live in Waterloo and have admired your work without knowing who the artist was. I was always amazed at the almost photographic finish to the pieces, which is owed to your wonderful execution of light and shadow. How do you create such a "perfect picture," so to speak? Do you use models, paint from other images, or use your imagination?
Veronica Lake
MO: Creating the "perfect picture?" I don't know that there is such a thing, which is something that I hope the viewer will, to some degree, question, recognize, or think about when looking at my work. My constant goal, to create something flawless and ideal knowing that it is impossible, is both painfully frustrating yet completely satisfying. Because of the technique I often use — staining acrylic paint into unprimed canvas — there is no room for error. Yes, I suppose it can be considered somewhat masochistic; however, when the end result is achieved, it is that much more rewarding. Most of my sources come from film stills, headshots, photography and advertising from the 1930s, 40s and 50s, although contemporary images currently influence my work also.
MONDO: It is evident from your work that you are inspired by cinematic artists. Who might some of these be? Also, which visual artists are you fond of?
MO: While there are too many to name, I am undoubtedly fond of film noir, early cult classics, and B movies from the 40s and 50s, which provide me with much inspiration. Certainly the studio photographers' use of poses, diffusion, and lighting is fascinating to me and is something I strive to make reference to in my own work. As for visual artists, well, there are even more "too many to name," but I'll do my best (some or none of which show any obvious signs of directly influencing my work): Cindy Sherman, Barbara Kruger, Franz Kline, Jenny Holzer, Cathy Daley, and more.
Jane Russell
MONDO: When you sold your first piece, what was your reaction? Excitement? Feelings of loss?
MO: Initially, excitement, then loss, and then excitement again.
MONDO: In your Artist Statement (2006) you said that �through [your] work [you] explore the glamour, sexuality, allure and artificiality of [the 30s, 40s, and 50s]." Do you think these things have survived into the present?
MO: I think these are things that have survived into the present and probably will never diminish (thank goodness!). However, what fascinates me most is the sense of nostalgia that I, along with so many other people, have surrounding that era and the yearning for an "idealistic" past, whether we have actually lived through that time period or not.
MONDO: How important is it that the space you display in suits your subject matter? Can you give any examples of venues that you found really suited your work?
MO: I think that whatever the space — whether it be a gallery or a public space — the work and the viewer's perception of it will be influenced by the surroundings. I enjoy the demand for attention that a gallery imposes upon its viewers and the context it gives to the work, however I find it just as gratifying to catch a viewer off-guard when they enter into a space and find art when they're not expecting it. As for a venue that really suits my work? The Jane Bond [in Waterloo], of course!
Lila Leeds
MONDO: What projects are you working on now and for the future?
MO: I am currently working on large-scale, charcoal drawings. They make reference to wome's lingerie, such as stockings, garters, and camisoles, items that are commonly unseen, but are being made public through my work. And while I am always exploring new ideas and projects, I can't deny the fact that I have stumbled upon something that has become somewhat of a preoccupation for me.
Keep an eye out for MeaghanOlinski.com, coming soon.