ABOUT

Olivia de Posson (b. 1982, London) is a Belgian artist whose practice unfolds at the threshold between light and form — where the visible meets the invisible, and where matter becomes a vessel for inner presence.

Her path did not begin in art schools.

It began in the inner world.

She painted for years before ever imagining it could be her path.

But in 2018, during a moment of deep meditation, she received a clear inner transmission:

painting was not something she did — it was something life wanted to express through her.

It was not a decision.

It was a revelation — unmistakable, quiet, and true.

This moment redrew the axis of her life.

What had been a private, intimate practice became a calling she could no longer ignore.

From there, she followed the movement with trust, leaving her career in finance to walk the path that had opened within.

She later trained through short courses at the Royal Academy of Arts, the University of the Arts London, and the Royal Drawing School — yet her practice remains rooted in something prior to technique:

listening.

Every work begins in silence.

In breath.

In the moment where the mind loosens and a different kind of knowing becomes perceptible.

She does not paint to express ideas.

She does not paint every day.

She paints when something essential moves — when the inner world seeks form.

The gesture is received, not constructed.

Colour arrives as vibration.

Line appears as a pulse.

Language emerges as a kind of inner script — sometimes visible, sometimes hidden — a form of “light-language” that is less a code than a trace of inner intelligence finding shape.

Her paintings act as quiet thresholds:

surfaces where viewers can slow down, soften, and reconnect with what lives beneath the noise.

They are not symbolic.

They are not explanatory.

They are spaces of coherence, born from coherence.

Each work reflects a passage — an inner movement — a moment where something has shifted from fragmentation to clarity, from contraction to openness.

This is why her works resonate universally:

they echo the archetypal movements that every human being must traverse.

Olivia does not paint to guide the viewer.

She paints because the movement is true.

But what is created from truth naturally calls others back to theirs.

Her work has been exhibited internationally —

London (Saatchi Gallery), Paris, Brussels, Knokke, Luxembourg, Dubai, Miami (Context & Art Miami), New York, Bordeaux, etc. —

and appears in private collections across Europe, the US, Latin America, Asia, and the Middle East.

At the heart of her practice lies a conviction both simple and radical:

that art is not spectacle, nor concept, but a way of giving form to the invisible —

a way of remembering the inner ground where everything essential begins.

PROCESS

Olivia’s practice is guided by a discipline of listening.

Before the gesture, there is silence.

Before the colour, there is breath.

Before the painting, there is the inner movement that calls to be received.

She does not paint out of habit or productivity.

She paints when the movement is unmistakably true.

Her process unfolds through:

• solitude that clarifies

• long walks by the sea or in nature

• dreams that speak before words

• meditation

• emptying the noise

• refining the inner space until it becomes transparent

From this ground of presence, form emerges naturally —

sometimes in one breath, sometimes after months of integration.

The work becomes the trace of a passage:

from survival to sovereignty,

from fragmentation to coherence,

from confusion to clarity,

from separation to unity.

Her intuitive calligraphy — her “light language” — appears when the mind is so quiet that meaning arises without thought.

It is not decoration.

It is not an esoteric system.

It is simply the imprint of inner intelligence taking form.

Nothing is forced.

Nothing is embellished.

Nothing is engineered.

Painting becomes the meeting point between receiving and translating —

between what is larger than her and what seeks matter through her.

This is why her work carries warmth, depth, and aliveness:

because it is created from the place where life is felt, not manufactured.

KEY THEMES

• Presence & inner truth

• Silence as origin

• Light meeting form

• Colour as vibration

• Gesture as revelation

• Intuitive calligraphy / light-language

• Archetypal passages of renewal

• From fragmentation to coherence

• Painting as listening, not constructing

• The invisible becoming form

• The essential rather than the spectacular

• The return to the inner flame / axis

CONCLUSION — The Quiet I Am

Beyond technique, form, or gesture, Olivia’s work points toward something elemental:

the quiet “I am” that lives beneath identity and story.

Not the personal self, but the inner ground where presence becomes perceptible, where the essence of being touches form.

Her paintings emerge from this still point —

from the silent flame of life that moves through every human being, regardless of name, history, or role.

This is the space from which her paintings arise, and the space to which they quietly invite the viewer to return to.