Anton Olea; an urban painter, was born in Chile, in the South of South America. An eternal defender of the anatomy, an irreverent user of the colors, a warm speaker of a simple phrasing. With surprising messages from underground in his word games. A painter with attitude. As a professional he is addicted to the art as an option and as a belief an innovator.

His history tells us that he started in the 80's in Chile, during hard times of socio-political crisis. He began his formal studies at Artistic Experimentation School, participating in exhibitions and the so-called 'artistic actions' kind of artistic 'happenings'. He also participated 'in mural paintings in different communities in Chile. He was also member of the Chilean painters and sculptors Association from UNESCO.

During the last decade, his first experiences were 'in mural art, when visual arts were the strongest expression of the social crisis 'in South America. Later he developed a process of artistic and personal growth. He tried to find out a permanent meaning within a world of magic and myths. His work framed on the mixture of this end of the century cultural approach and the culture existing in America before the arrival of the Conquistadors (Spanish Conquest).

After a hard and restless questioning, 'including Anton himself, he would try to break the chains, his own fears to get a proper language in his work. Now, it is not the matter of a standard level, or just innovation, political correctness. It is the moment to express the madness of the coexistence between life and death in an environment full of hidden meanings. This unbelievable paradox and his private life have turned him quiet, reflexive and sometimes contemplative. Anton says: I know I have to go on and on until I get there.

His imaginary world is full of geometry coexisting with shadows and nightmares. It is also populated by linear characters with non-linear expressions. They seem to be the new gods proposed by Anton. The serniotic used 'in his work is assertive, ludicrous and profane without losing the spirituality, the sense of being popular, the roaring of his homeland. It is not a 'snobby' conception of the art, it is the outcome of his own experience in a 'poblacion'(neighborhood). He took that expression from the wall to the canvas, with new elements from his internal growth in a new society.

Culturally exiled in Australia since 1988, his works have been exhibited in several galleries: Bienale Florence Italy, Custom House, Vanishing Point,Tap Gallery, Argyle Gallery, Australian Museum, Bondi Pavilion, Performance Space and others.

Anton proposes to express the vital drive of the human race. When we face the XXI century, ideologies and isms have lost the track. The basic sense is the only resource in use. A new mythology is among us. A painter cannot be attached to a specific artistic movement-not today- a painter cannot be manufactured in universities or academies. He has been questioning through his lines, shapes and colors. Stereotypes and obsolete thesis are stuck in the past. The human race and the artistic work are looking for a refreshing answer. This age paradoxically allows to coexist Internet and unemployment, new-age and aboriginality, multi-ethnic and racial hegemony. Anton belongs to this context.

When millions of human beings are surviving just with the vital drive, culture is still elitist and with no universal~ meanings. Who understands a classic work? Who classifies the painters? Who defines the correctness and the aesthetics?

Spanish Version