B. Ingrid Olson

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B. Ingrid Olson, as an articulated lair as an errant plane, 2026, acrylic ink, acrylic paint, gesso, colored pencil, glue, hardboard, MDF, wood, wood glue, screws, 25 1/2 x 50 1/8 x 2 1/4 inches.

B. Ingrid Olson, Pilot, Every Remnant, 2013–2026, acrylic ink, acrylic paint, silver gelatin prints, gesso, aluminum tape, MDF, hardboard, wood, glue, screws, 26 5/8 x 57 5/8 x 2 1/2 inches.

B. Ingrid Olson, Judith's Ballast, in rust, endure, 2026, acrylic ink, acrylic paint, milk paint, gesso, hardboard, MDF, wood, wood glue, screws, 26 5/8 x 40 5/8 x 2 1/8 inches.

B. Ingrid Olson, Underfoot and Overhead (Bachelor, decay, I was then a we, can it be that I am the subject?), 2013–2026, acrylic ink, acrylic paint, milk paint, drawing paper, tissue paper, inkjet prints, laser prints, transparency, silver gelatin prints, vellum, wax paper, developed photographic film, synthetic fabric, plastic sheeting, aluminum tape, artist's tape, staples, gesso, hardboard, wood, glue, screws, 16 1/2 x 33 1/4 x 2 1/2 inches.

B. Ingrid Olson, Underfoot and Overhead (Manifold), 2013–2026, acrylic ink, acrylic paint, milk paint, aluminum tape, artist's tape, drawing paper, tissue paper, inkjet print, laser print, transparency, silver gelatin print, developed photographic film, vellum, synthetic fabric, staples, gesso, hardboard, wood, wood glue, screws, 15 x 31 3/4 x 2 1/4 inches.

B. Ingrid Olson, Underfoot and Overhead (Hys), 2013–2026, acrylic ink, acrylic paint, milk paint, drawing paper, tissue paper, inkjet prints, laser prints, transparency, silver gelatin prints, lithographic print, vellum, synthetic fabric, plastic sheeting, aluminum tape, artist's tape, framing tape, packing tape, staples, gesso, hardboard, wood, glue, screws, 16 1/2 x 37 x 2 3/4 inches.

B. Ingrid Olson, Machines Nature (de-re), 2017–2026, acrylic ink, acrylic paint, milk paint, high-density polyethylene fiber paper, drawing paper, tissue paper, inkjet prints, laser prints, transparency, silver gelatin prints, lithographic print, vellum, wax paper, synthetic fabric, plastic sheeting, aluminum tape, artist's tape, staples, MDF, hardboard, wood, glue, screws, 25 1/4 x 23 1/2 x 1 1/2 inches.

B. Ingrid Olson, Circum: Foil, Rubber, Skin, String, Hasps, Cap, Years, 2014–2026, acrylic ink, acrylic paint, drawing paper, tissue paper, wallpaper, inkjet print, laser print, transparency, silver gelatin print, vellum, synthetic fabric, PVA glue, aluminum tape, artist's tape, staples, gesso, hardboard, wood, wood glue, screws, 12 x 15 1/4 x 1 1/2 inches.

B. Ingrid Olson, Wring, 2016–2026, acrylic ink, acrylic paint, milk paint, drawing paper, tissue paper, inkjet prints, laser prints, transparency, silver gelatin prints, plastic drafting guide, tape, staples, gesso, hardboard, wood, glue, screws, 6 1/2 x 10 1/2 x 1 1/4 inches.

B. Ingrid Olson, Sister’s Pit, 2022, glazed porcelain, wool, epoxy, plastic, wood, 9 1/2 x 5 1/2 x 4 1/2 inches.

B. Ingrid Olson, Artists Book, 2008–2024, aluminum, Plexiglas, drawings, includes Portrait of an Architect, 2019, ink on synthetic paper; Excess, 2008, gouache on paper; Excess Daily Drawing, 2010, watercolor on paper; Copy Drawing, 2010, xerox on paper; 12 x 9 x 2 inches.

B. Ingrid Olson, Artists Book, 2012–2024, aluminum, Plexiglas, ceramic, drawings, includes Soft Drawing, two figures, 2012, grease pencil on tissue paper; Architects’ Portrait, 2019, ink on vellum; Storage, 2024, glazed ceramic; 11 x 17 x 3 inches.

B. Ingrid Olson, Artists Book, 2007–2024, aluminum, Plexiglas, drawings, includes Reverse Clock Painting, 2024, gouache and acrylic on door-edge paper; Rebirth Head in Shirt, 2008, graphite on post-it note; Mask Drawing, 2008, ink on paper; Proof for Errata, 2015, silver gelatin print; Dark Drawing, 2011, charcoal on paper; Architect’s Thought, 2019, ink on synthetic paper; Drawing for Why Does my Vestibule Hurt, 2022, graphite and ink on vellum paper; 11 x 14 1/2 x 2 inches.

In her omnidimensional work, Chicago-based artist B. Ingrid Olson (b. 1987, Denver) engages the reciprocities between photography, sculpture, and architecture. Poetically testing the capacities of the human body in relation to architectural conditions, she calls attention to the ways that gender and power are implicated in the physical and psychological structuring of space.

Olson’s work has been the focus of solo exhibitions internationally, most recently at Midway Contemporary Art, Minneapolis; Kunstverein Braunschweig, Germany; fluent, Santander, Spain; Carpenter Center for the Visual Arts, Cambridge, Massachusetts, and Secession, Vienna. She participated in the 2024 Whitney Biennial and New Photography 2018 at the Museum of Modern Art in New York.

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