Olga Tzikouli is a Berlin-based artist working in figurative oil painting and digital geometric art. She began developing her visual language in 2009, alongside a long-standing practice as a professional dancer and later as a teacher of somatic and bodywork practices — training that continues to shape how she works: through breath, gravity, and presence rather than a fixed idea. The Codex Geometries — foundational geometric blueprints — are where the underlying language first takes form. The paintings — State of Resonance, Field Dynamics, Genesis — carry that language into figurative embodiment, though the relation between the two is not a straight line: the geometric surfaces, dissolves, and resurfaces across the work rather than moving in a single direction. Across both mediums, the process begins without a predetermined concept; each piece takes form through what she calls a process of remembrance rather than invention.
The Process:
It begins with the foundational geometric language, which started taking form in 2014. The Codexes are Foundational Geometric Blueprints. They represent the moment where the unseen inner geometry crystallizes into form. This is the 'Quantum Layer' of the work—a biological geometry that exists beneath the skin and beyond the canvas, a transmission of pure frequency intended to recalibrate the space between the observer and the observed.
Painting is the embodiment, the evolution of energy from the geometric to the figurative- it is giving tangible form to the unseen. The creation is a dynamic, investigative process: the figure and the surrounding space remain in constant flux until a critical balance is achieved and the central concept is revealed. The experience is profoundly informed by my history in sculptural work, which instilled the principle of a continuous dialogue between shedding and receiving: the act of freeing the internal form.
Bio
The work is a continuous movement—a translation of vibration into space. My foundational language was forged in the discipline of dance, where the body learned to exist as a vessel for frequency. That internal architecture remains: the same awareness of breath, gravity, and presence that once lived on stage now inhabits the canvas and the graphic codex. The stage shifted, but the intent is unchanged: to shed the unnecessary, to free the internal form, and to witness the moment