After his training at the Gerrit Rietveld Academy in Free Graphics, Olgers made 'rhythmic' reliefs from one piece of paper. He then spent a long time making blueprints for complex spatial objects, which, like his reliefs, can be constructed from a single piece of paper. “In the evenings I sat at the kitchen table brooding on those designs. It didn't even stop in bed.” Olgers made woodcuts from these construction drawings. According to Olgers, this was a very interesting period artistically, where he still "gets things out".
Over time, he exchanged paper for wood and his work became more and more spacious. Based on his construction drawings, he made a series of reliefs in wood. He then produced a series of wooden hanging objects, resembling a kind of cupboards. The more abstract and standing wooden constructions that he now makes arise from the cabinets. Olgers: “I don't consider myself a wood artist, but you can make anything with wood: large, small, straight, round, heavy, light. A cigar box but also a cathedral.”
The search for solutions to complex constructive issues is the common thread in Faan Olgers' oeuvre. “My sculptures are difficult to create, but designing them is even more complicated. This 'puzzling', working on construction is my passion.” Olgers therefore does not call himself an artist - that is too strong a word - but a constructor.
When you think of complex technical constructions, you quickly think of intellectuality and detachment. That is certainly not the case with Olgers' images. His work has a rather light, cheerful appearance. It even looks a bit like a toy. Although Olgers does not want to depict an object or figure in particular, his images contain many figurative elements, such as buildings, wheels, noses and hats. He finds it very important that the work is completely correct in terms of composition and color. “In that sense I am a sculptor with the eye of a painter. You are constantly dealing with shape expression. What is a shape and what effect does it ultimately have: tragic, cheerful, sweet, etc. I only like an image if it contains emotion.”
One of his dreams is to make large sculptures from aluminum 'because of the insanely extreme colors and the ultra-modern look of this material'. Olgers: “Now you can still see recognizable shapes in my images: a wheel, a building. Those images of aluminum have to become much more abstract. Beautiful rhythmic spatial structures. Mesmerizing images.”
| Technique | Wood/Linocut |
| Dimensions | 113.5 x 78.5 cm (h x w) |
| Signed | Hand signed |
| Support | Japanese Paper |
| Framed | Framed |
Bid 
| Technique | Wood/Linocut |
| Dimensions | 113.5 x 78.5 cm (h x w) |
| Signed | Hand signed |
| Support | Japanese Paper |
| Framed | Framed |
Bid 
| Technique | Wood/Linocut |
| Dimensions | 113.5 x 78.5 cm (h x w) |
| Signed | Hand signed |
| Support | Japanese Paper |
| Framed | Framed |
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