View fullsize

No Relief
View fullsize

No Relief (Detail)
View fullsize

Peyronie's Disease as a Metaphor for the Decline of the Phallocentric Gaze
View fullsize

Peyronie's Disease as a Metaphor for the Decline of the Phallocentric Gaze (Detail))
View fullsize

The Ever Expanding Joys of Futility
View fullsize

Dupuytren's and the Demise of Patriarchy
View fullsize

Albrecht Durer Gathers No Moss
View fullsize

Eat Your Heart Out
View fullsize

Surrender
View fullsize

Let No Man Make a Blunder... Nor No Woman Neither
View fullsize

Infant Proportions
View fullsize

Francisco Lezcano etc
View fullsize

Four Spoon Father
View fullsize

Under the Elbows of a Darker Symmetry
View fullsize

Can Two Walk Together Except They Be Agreed?
View fullsize

Not Nothing Between Us
View fullsize

Searching the Sculptor’s Stockpile for Evidence
View fullsize

Roving Eye
View fullsize

Toffee Apple Versus Sugar Bowl Lid
View fullsize

OnanandI
View fullsize

Retroglyphic Renunciation
View fullsize

Backside Pilgrimage
View fullsize

Misappropriation of the Motherlode
View fullsize

Lids All the Way Down
View fullsize

Gravity’s Denial
View fullsize

Shell Scheme
View fullsize

Cultural Baggage Claims
View fullsize

Dull Midwinter Mismatch Mischief
View fullsize

Dark of Heartness
View fullsize

The Island is Full of Noses
View fullsize

Syphonaptera Deus II
View fullsize

Orpheus Enchanting
View fullsize

The Joy of Dismay
View fullsize

Ovid’s Regret
View fullsize

Hope Would Be Hope for the Wrong Thing
View fullsize

Release
View fullsize

Gaps in Transmission
View fullsize

Tympanic Shift
View fullsize

Writ Large
Retroglyphs 2022 - Present
“The material program of Olivant’s Retroglyphs invites us to use the descriptive term palimpsest, which means layered accumulation of incidents manifesting over time, but it can also refer to a peeling back of those layers for the sake of parsing their specifics, oftentimes revealing an uncanny reemergence of repressed memories and associations, whether they be of a personal or historical nature. It slowly dawns on the viewer that the what of these works and the how they are made both mirror and editorialize on each other, all the while bearing witness to the consequences of a social world on the verge of amusing itself to death, struggling to fully apprehend the consequences of its translation of myopia into zeitgeist. ”
The Retroglyphs are all derived from the Heteroglyphs and are named for looking back at them. All of these are worked over the top of digital photographs of Heteroglyphs, printed on handmade paper. In addition to printer-ink they typically include collage, colored pencil and acrylic paint. Some Retroglyphs include fragments of Serigraphy and some largely consist of a Serigraph derived from the digital photographs.