Olivares works in the art historical context of landscape. Landscape allows for personal storytelling and alludes to the sublime. Her artworks have embedded memory; each landscape depicted has a specific personal narrative. As contemplative markers of longing and memory, Olivares' landscapes are charged with saturated color and an atmosphere that can be quiet and reflective but also eerily disturbing.
Hauntology, a term used in the early 1990s by philosopher Jacques Derrida, refers to the idea that the present only exists with respect to the past and aesthetics are thought to be strange and old-fashioned; a “ghost” to the past. Hauntology in art often incorporates various images or styles that invoke mystery, memory, spiritual longing, placelessness and elegies of nature. Olivares' work, influenced by the dark romantic style of nineteenth century American painters such as Charles Burchfield, Agnes Pelton, Martin Johnson Heade and Ralph Albert Blakelock, strives to touch the unknown just beyond our reach using the style of hauntology.
Questions asked by this work are: What is accurate and what is true? Where does the subconscious meet the conscious? What is ominous and what is transcendent – can both co-exist in one painting? With a quiet directness Olivares investigates nature’s mystery, revealing its shadowy and numinous ways.
Receiving her M.F.A. from Mills College, Oakland, CA and undergraduate degrees in studio art & art history from the University of California at Berkeley, Olivares studied under Joan Brown, Elmer Bischoff, Jay de Feo and George Miyasaki. Olivares has been awarded artist residencies at the Morris Graves Foundation (2007 & 2009), AROHO Foundation (2005) and Kala Art institute (1991). Her work has been exhibited nationally and internationally, including at the University of San Francisco, Loma Linda University, Richmond Art Center, Lisa Coscino Gallery, Museum Without Walls, Alexandria Museum of Art, Laguna Gloria Art Museum, Louisiana State University, Blutenweiss Gallery and Gallery Irohani.