Tomas Oliva
ARTWORKS
PORTFOLIO
Sculpture
EARLY WORKS
Selfportrait Tomas Oliva 1976, Terracotta.
Project monument to Hatuey titled: The Sacrifice of Hatuey, 1984, Kiev, Ukraine
Study for monumental project to Slavutish, that was the ancient name of Dnieper river.
Portrait of Tatiana Xarlampievna Popova, 1983 Kiev, Ukraine
Portrait of National Ukranian Poet Taras Shevshenko 1988, Cupper, Museum Shevshenko at Borshiv, Ukraine
In the picture, sculptor Tomas Oliva stands by the life-size study of Yura (the model) while studying at the Kiev State Art Institute, 1983, Ukraine
This is a Lifesize study of Sveta (the model) 1983 Kiev, Ukraine
Portrait of Tatiana Xarlampievna Popova by Sculptor Tomas Oliva while studying at Kiev State Art Institute, 1983 Ukraine
PAINTINGS
DRAWINGS
CERAMICS
Vase, Cone 10 Reduction Glaze Iron‑Saturated Tenmoku / Oil‑Spot Variant (Warm Reddish‑Brown Breaking to Khaki).
Above: large ceramic sculpture of Ganesha commissioned for a private collection in Kirkland, WA. Hand-built from stoneware and glazed with a high‑iron saturated Tenmoku glaze, fired at cone 10 reduction.
Demo piece for a ceramics class for beginner students. The piece was thrown, trimmed, and glazed with a combination of two glazes: a rust-brown kaki for the body and a semi‑opaque white glaze with iron speckling shed from the clay body (cone 10 reduction).
This vertical vessel is finished in a rich Tenmoku base. A secondary application of ash-green glaze at the rim produces a cascading effect, resulting in vibrant green drips and organic flowing streaks that define the piece's upper profile.
Erotic Frida (2006)
Unglazed ceramic, fired to Cone 6.
Frida Warrior, 2006 Ceramic, A thin iron‑bearing wash (iron + clay), applied to bisque, then fired to cone 6 in a neutral slightly reducing atmosphere.
Ganesha 2010, large stoneware piece 4 feet tall, commissioned for a Private collection in Kirkland, WA.
Cone 10 oxidation satin iron glaze (bronze‑brown stone surface)
States Series (1990–91) uses a mix technique: a studio‑ready cone 10 engobe applied to an assembly of steel and ceramic rebar, fired to create a crusted, cratered, corroded‑steel surface.