The investigations of the visual artist Olga Bettas are developed linked to the problems of women in today's society. In this sense, within the context of Uruguayan production, her personality is projected as one of the most genuinely committed. His speech, which transcends the merely anecdotal, unfolds with unrestricted freedom a theme that addresses such emblematic representations of the body as the organs, which in their vulnerability are found within the most recurrent symbols of popular culture. The garments, almost always feminine, resemantized, that allude to imminent aggressions, beyond dragging to the surface, representations of the erotic or forms of relationship in which aspects of public and private life are confused and made explicit, appear as a voice strident that sounds alluding to problems of gender and society that are almost always quietly hidden or procaciously treated. At this time, the work of Olga Bettas, creating significant spaces for women within art, consequently contributes as a set of visual reflections on the androcentric nature of history. From the tour of her work, a development of remarkable coherence is perceived, which starts from a training that brings her closer to such important masters as Nelson Ramos and above all to textile art, in which she had begun with a production of tapestries of the most significant of this art of such relevance in Uruguay. Without ceasing to relate to design and materials, even the most modest, linked to the domestic sphere and apparently disposable, this creator impresses with the frequentation of the most current forms, with a work full of humor that participates in the quality of the object both such as soft sculpture or installation. The simplification and apparent literalness in the conception of the works does not arise in an improvised way, but from the need arising from an extensive experimentation process sustained by an underlying plastic thought. This consideration, which concerns the corpus of his work, is one of the most successful forms of legitimation within contemporary criticism in the process of redefinitions. 

Exposiciones:

2005 Dragon Barracks. Maldonado, Uruguay. 

2007 "Nests that hide secrets". Museum and Municipal Historical Archive, Cabildo de Montevideo. Montevideo, Uruguay. 

2009 Form Gallery Buenos Aires, Argentina. La lupa bookstore, Pecados, installation, Montevideo, Uruguay. 

2010 "Double Speech" Engelman Ost Collection. Montevideo, Uruguay. 

2011 "Tendal" Borges Cultural Center. Buenos Aires, Argentina.

2012 "Dresses" Maldonado Dragon Barracks, Bastión del Carmen, Colonia and Engelman Ost Collection, Montevideo, Uruguay. (Winning project of the Competitive Fund for Culture 2012, MEC) 

2017 "Windmills", MNAV, Montevideo, Uruguay.

Awards

2000 Third IMM Prize, 75th Anniversary Creole Week. 

2000 Mention B"Naith B"rith of Uruguay Motives of the old testament. 

2001 Honorable Mention, 49" National Hall of Visual Arts, Uruguay. 

2004 First Prize Biennial Travel of São Paulo, B"nait B"rith of Uruguay. 

2004 51st National Exhibition of Visual Arts, selected. 

2007 52nd María Freire National Prize for Visual Arts, selected. 

2012 Awarded Competitive Funds Project, MEC. 

2014 56th José Gamarra National Prize for Visual Arts, selected. 

2018 58th Linda Kohen National Visual Arts Award, selected.