| BORN: | - | - |
| England, 1977 | - | - |
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| LIVES/WORKS: | - | - |
| Rio de Janeiro, Brasil | - | - |
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| EDUCATION: | - | - |
| 2006-2008 | MPhil Printmaking | Royal College of Art |
| 1999-2001 | MA (RCA) Printmaking | Royal College of Art |
| 1996 –1999 | BA (Hons) Fine Art | Central Saint Martins |
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| SOLO EXHIBITIONS: | - | - |
| 2008 | Dervishes | Herrmann and Wagner, Berlin |
| 2008 | Le Grand Jeu | Beaux Arts, London |
| 2006 | When Two Worlds Collide | Beaux Arts, London |
| 2003 | Intimate Distances | Beaux Arts, London |
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| SELECTED GROUP EXHIBITIONS: | ||
| 2009 | Open Print (Invited Artist) | Royal West Academy, Bristol |
| 2009 | The Space Between | The Crypt, Euston, London |
| 2009 | On Time | The Courtauld Institute, London |
| 2008 | Locked In | Casino Luxembourg, Luxembourg |
| 2008 | 10 Years of Printmaking: The Chris Orr Years | Royal College of Art, London |
| 2008 | Querkopfe | Kunstverein Tiergarten Berlin |
| 2007 | Diagnose Art | Kunstspreice Wurzburg, Germany |
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| AWARDS & RESIDENCIES: | - | |
| 2009 | Suttie Centre Commission, Aberdeen | |
| 2007 | London Print Award, Royal Academy | |
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| BIBLIOGRAPHY: | - | |
| 2009 Wildevvur, S, “Invisible Vision”, Nederlands Tijdschift Voor Geneeskunde | ||
| 2008 Miah, A (Ed.), “Human Futures: Art in the Age of Uncertainty”, Liverpool University Press | ||
| 2008 Tala, A, “Installations and Experimental Printmaking”, A&C Black, London | ||
| 2007 Leismann, B “Diagnosis [Art] Contemporary Art Reflecting Medicine , Wienand | ||
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2006 Saunders,G, “Prints
Now: Directions and Definitions”. V&A Publication |
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2002 Lucie-Smith, E, “Art Tomorrow”, Terrail |
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| COLLECTIONS: | - | |
| Victoria and Albert Museum, London. The Wellcome Trust, London. Fundacio Sorigué, Lleida, Spain | ||
| Private Collections in UK, Europe, USA, Middle East, Brasil and Japan | ||
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| ARTIST STATEMENT: | ||
| Digital medical imaging fragments the body, genetics breaks it down into code, electronic communication reduces interaction to e-mails, text messages: digital media breaks the body down into bytes. Oliver attempts to repair the fragmentation and dislocation of the body brought about medical imaging and electronic communication by using the digitised and coded body (in the form of MRI, CT and PET scan data) as material for making sculptures. Oliver seeks to reclaim the body from the contemporary medical and digital gaze in order to poetically subvert it and offer future relics of our increasingly digitised selves. | ||