PAGE 1
PAGE 2
PAGE 3
PAGE 4
PAGE 5
PAGE 6

At the beginning, when she first started painting, she was doing very intricate, impressionistic paintings -- almost miniatures, following in the footsteps of her mother. Lisa remembers watching her mother painstakingly painting the individual hairs on an illustration of a detailed mink coat for a fashion illustration. She also recalls hearing her mother often say she wished she could break out of that mode, and try something bigger and wilder. Something with color.

That was the point in her life where the alchemy began for Oliver, transforming her art into the "big" and the "wild" that her mother once wished she could do. Her mother planted the seed which came to full bloom years later in Oliver’s own work, in the same studio. Once Oliver opened up her thought processes, she says that "the pieces started getting bigger and looser and more abstract, more colorful. Some of it is talent and learning that I received from them [her parents], and the rest of it is just spontaneity that comes through when I am open to it and when I allow it to come through."

Oliver’s home is now on a lush hillside in Bountiful, and the house is surrounded by dense trees and foliage, with pathways leading from one quiet forest enclave to another. Her studio, the centerpiece of the house for Lisa, is an intrinsic part of her creative process. "Usually, I can have a whole day with no one around, the wind blowing through, the wildlife outside and the meditative music on and I can just be on the floor surrounded by all of these inks and dyes. To see what comes through, it's almost like a high." Colors are dripped and swirled onto wet illustration board and transformed into ethereal and oftentimes cosmic creations.

The process of creating her paintings is unique. "Unlike most artists, I don't work from a canvas, because the medium I use doesn't allow it." Working from illustration board, Oliver’s alchemy is created by using various chemicals along with her dyes and inks. The use of the chemicals often separates the dyes into their original colors, adding an element of surprise to the creation process. "I like to see what different chemicals will do to the medium and so I play with that."

She saturates the board so that the color deeply penetrates, creating a depth that other mediums might not allow by simply sitting on the surface of the board. Afterwards, blocking the boards to dry makes it a more tedious process, but the results are worthwhile. The final outcome of the painting is not seen until it is completely dry.

There is a tangible energy as she describes her technique, a "vibe" as she would refer to it. Looking at the vibrant colors and images, it is easy to get lost in the paintings, to try to find something in them that no one else can see. It becomes an obsessive game while looking at her work; creating your own personal meaning for each piece.

"When writing the prose that accompany each painting, the words are generally not meant as a literal description of the painting, but to hopefully present a meaningful message for the reader and viewer," Oliver says. Creating paintings and text that might strike a resonant chord personally with someone is a vital part of the creative process for her. With paintings entitled "Chi," "Glyph" and "Magi," the magic of the text entwines itself with the pieces' voluptuous colors and mesmerizing designs.

The physical proximity between the viewer and the art is also important to Oliver. "I prefer intimate venues such as upscale restaurants and businesses."

She has shown in many galleries, but feels that "there are a lot of hoops to jump through with galleries. It's more impersonal to me. I'd rather have people sitting around in a close one-on-one relationship to my paintings, rather than to have them just walk through once a month and see my paintings on the wall, and then never see them again." She finds that it is more interactive to have the painting hanging over the table while at dinner. She has done very well and sold effectively in restaurants, although she still enjoys showing in galleries and does not dismiss the idea from her future.

Oliver's works are currently hanging at the Oasis Cafe. She feels that the metaphysical nature of the location will work well with her paintings, and it's been a goal of hers for years to show at the Oasis, adding that "it has the perfect ambiance for my work."


Sitting on the floor of her sunlit studio, surrounded by family mementos and pictures, books and inks, Oliver’s future appears to be as open and bright as the room itself. The last few years she has decided to "just put it out there and take whatever comes my way."

Wanting to make sure that her art is personally fulfilling is important, but it is her main goal to have people simply view her art. Adding that they may not appreciate it, she would like people to "at least experience it" on any level that they choose. Perhaps an alchemy of sorts will take place for the viewer, and they will make their own personal discovery as suggested in her poem from the painting "Prism."

Need an excuse to take a trip to the new Salt Lake Library? How about combining that trip with lunch and art?

Another great alternate venue for viewing Utah artists is the Urban Bistro. Located across Fifth South from the old library, this friendly little spot offers a diverse fare. Order Italian, Latin, salads, stir-fry, other vegetarian dishes, fresh-baked bread or delicious desserts.

The Urban Bistro is one of those places "where everybody knows your name". It's obvious that husband and wife owners Ricc Esparza and Susannah Seare have a good relationship with their "regulars." You'll also find a wide variety of clientele - from business people to a young crowd, and dress - from formal to completely casual. All in all, it's a great atmosphere for a meal and some conversation.

Now let's get to the good stuff... they show Utah artists! In fact, they have been hanging (primarily Utah artists') artwork ever since they opened the doors six and a half years ago.

The owners like to support local artists and take no commission, but do respect relationships artists may have with galleries. Artists are invited to call Ricc for an appointment to show him their work. The popular venue often has artists booked six months in advance. Ricc has a hard time defining exactly what he looks for, but wants to ensure that the pieces hung will complement the other work and his restaurant's image.

Showing work through September are three artists who also happen to be represented by Phillips Gallery, John Erickson (acrylics), Ruth Gier (B/W photography) and Michael Hall (oils, pastels). Generally, the restaurant shows two or three artists' work at a time, with the works staying up about three months. Artists are welcome to hold openings for their exhibitions. 

Besides serving up lunch and dinner, the Urban Bistro also do a lot of private parties and catering. You can find them at 216 East 500 South in SLC and contact them at 322-4101. They are open for lunch Mon-Fri from 11:00am to 3:00pm, and dinner Wed-Thur from 5:30pm to 9:30pm and Fri-Sat from 5:30pm to 10:00 pm.