B. Ingrid Olson All Lock No Key
March 13 - April 25, 2026
View
Installation view of B. Ingrid Olson, All Lock No Key, March 13 – April 25, 2026. Photo by Bob. (Robert Heishman + Robert Salazar).
Installation view of B. Ingrid Olson, All Lock No Key, March 13 – April 25, 2026. Photo by Bob. (Robert Heishman + Robert Salazar).
Installation view of B. Ingrid Olson, All Lock No Key, March 13 – April 25, 2026. Photo by Bob. (Robert Heishman + Robert Salazar).
Installation view of B. Ingrid Olson, All Lock No Key, March 13 – April 25, 2026. Photo by Bob. (Robert Heishman + Robert Salazar).
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, 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, 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.
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.
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.
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.
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, 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, Machines Nature (de-re), 2017–2025, 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, Machines Nature (de-re), 2017–2025, 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, 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 (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 (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 (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, 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, 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, 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, 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, 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, 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, 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, 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 (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, 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, 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, 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.
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.
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, 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, 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, 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.
Press Release
Opening Reception: Friday March 13, 2026 | 6-8pm
Corbett vs. Dempsey is pleased to present B. Ingrid Olson, All Lock No Key. This is the artist's first exhibition at the gallery.
The ground is constantly shifting. A term may stir, awaken, move into another term's nest. Photography dives into sculpture which morphs into assemblage and is then sublated into installation. Givens are unglued. And reglued. Beds are unmade. And tidied. In B. Ingrid Olson's work, which integrates a staggering variety of ideas and materials, a body – some body – is configured as a runway, a site of arrivals and departures. Working with cast, carved, sculpted, found, painted, screen-printed, and photographed materials, Olson addresses an intimate yet broadly relatable set of open secrets and secretive openings. As concrete as these pliable substances are, so is Olson’s use of ambiguity, which she deploys as another working material. What is that thing I see? Is it an appendage? A wrapper? An egg? A mold? A slipper? A mushroom? Something covertly erotic or explicitly abject? In her most recent work, she has constructed objects that imply possible violence – ranging from surgery to disinterment, or even evisceration – objects that also destabilize one’s sense of position in space. Like Charles Olson's projective verse, which the poet (no known relation) declared "proprioceptive," B. Ingrid Olson describes her work as "promoting a self-consciousness of body and mind, of subjectivity and of having a specific vantage point while ‘looking.’ The viewer then becomes a visitor: embodied looking, an aware encounter."
In All Lock No Key, Olson has constructed a large architectural installation based on The Vault, the gallery's video room, turning that usually secluded space inside-out. In the surrogate structure, Realia for punishment or distinction (is this a human problem? If so I'd like to keep it), 2026, the artist has everted the shelving and placed a sculptural composition into its illuminated interior. Lighting is critical to the exhibition, which subsumes the majority of the south gallery space, bathing it in a caramel glow. Only one corner of the room is brightly lit to present a dense cluster of wall-based works, as if they were creatures drawn to the bright light leak created by a slim vertical gap where the two walls might otherwise meet.
Olson’s work has been the focus of solo exhibitions internationally, most recently at Midway Contemporary Art, Minneapolis; Kunstverein Braunschweig, Germany; Keijiban, Kanazawa, Japan; 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.