Olivia reworks the Yeager and Klaw periods of Bettie's imagery, accentuating the sexual magnetism of the raven haired feminine allure. The original bondage sessional work appealed to a primarily male aesthetic. Tastes have shifted from the brown paper bag under the counter world of the 50's. Bettie, once cited for her ability to corrupt, is now an icon of the world for all the different sexes.
Olivia captures the display of the adorned beauty of the Yeager period and the sexual sparks of the Klaw years snaring the innocence and sensuality. The art is less "I think therefore I am", intellectal postering, to "I feel it therefore I want it". An appeal to more basic truer needs. Olivia captures the woman as an artwork, not in terms of objectifying beauty but in celebrating it.
The pictures radiate an effervescence of allure, lust and joy. Burlesque originals with red leather, black leather, mermaids, cops, dominatrix, cowgirl, showgirl and deville.
Leave it around the room, note the reactions, this book will divide the population, taking converstations down byways yet to be explored. The imagination should always be liberated from what is, to what it can be.
The beauty of Olivia's portrayal is that it never descends into gynealogical expose's, it has a beauty and elegance to capture the hearts of women who adore Audrey Hepburn. Those who placed to oneside she played the call girl in Breakfast at Tiffany's. Olivia gently coaxes the risque, the inherent beauty within women to beckon and emerge. Olivia also reinterpreted the allure of Bettie for a modern generation breaking away from the current obsession that new and shiny is best, the evolutionary slug trail of the market ad man. In the hinterlands of modern history artistic pearls, rubies, emeralds, sapphires and diamonds await to be picked from the surface of culture. Olivia just plucked at it first.
No higher calling for an artist.