Olivia’s work is not made to feature recognisable forms, it is made to elicit a response and a long look. Painted with an astonishingly matte surface, the paint ‘pushed’ into the canvas, the works have a softness that demand that we look again. The paintings exude an authority and a calm that draws the viewer in.   Her work is a colour-rich expression of the everyday and what she sees about her - ‘life’, heavily influenced by landscape from her years living in France and more recently about structure and  balance. Conscious that she does not want to tell us what to see, she prefers to share what she sees and let the work speak for itself. 

 

Olivia Stanton (b.1949) trained at Byam School of Art (now part of Central Saint Martins), London from 1973-77.  Influences include Ivon Hitchens, R B Kitaj, Gillian Ayres and further back to Gaugin, all for their bold use of colour. She also cites the influence of Japanese wood blocks – ‘I like the way they organise black’.  Since 1973 Olivia has worked part-time at the iconic art shop Green and Stone of Chelsea, with owner Rodney Baldwin. It is a place where she has learnt a lot about paint, materials and met many great modern and contemporary painters. She still works there to this day and notes its importance to her personally. 

 

 

"Olivia Stanton studied painting in the early 1970s at the Byam Shaw School of Art in London and has exhibited regularly since then in Britain and France. Her work is landscape-based, but betrays a leaning towards abstraction which tightens the structure of her paintings substantially. This, coupled with a sophisticated understanding of colour used both descriptively and decoratively, accounts for the strength of her work. She draws with lyrical precision and has a real feeling for paint"

Andrew Lambirth, The Spectator.

 

"Olivia Stanton has exhibited regularly in England and France since she left the Byam Shaw School of Art in London in the Seventies. Although her paintings are always based on particular places and views - here and there one can distinguish a row of trees, the curve of a road or fence, even a dustbin - they are essentially abstractions, and glimpses of recognisable features of the landscape are rare. These are skilfully controlled paintings. The colour is rubbed on and no brushstrokes are visible, but they are given a wild sense of movement through the abstract shapes themselves. With a particularly subtle deployment of colour, sometimes sombre, sometimes brilliant, the artist creates a variety of different moods."

The Week