1. Mihai Olos's six-month teaching at the "Justus Liebig" University in Giessen, his successful performances, solo shows in Wickstadt and Giessen and later on in the Netherlands, made him realize that his work and ideas could have a better audience abroad.
Mihai Olos's mother Ana, coming from the Borsa family of noble origin, was born in Poiana Codrului, in the full of mysteries zone of wood culture.
Mihai Olos's childhood had started as happily in a still unaltered natural and cultural environment with archaic roots as concerns the organization of the homestead, interior decoration of the home, the authenticity of the household object, customs and faith.
Mihai Olos saw them at work and witnessed their gatherings where sewing, spinning or other household activities were accompanied by singing, the reciting of folk poetry, the telling of tales.
Mihai Olos's father's being a tradesman influenced him in making rosewater and sell it to the girls in the village.
Mihai Olos learned from them communication skills and the love of conviviality and this whetted his appetite to explore the world.
Mihai Olos remembered his father's loss of all the money he had earned selling cattle due to the 1947 currency reform.
Mihai Olos began to teach private lessons and during the school holidays worked as a courier at the local newspaper.
Mihai Olos got lodging for free in the house of violinist and as a young school master he often accompanied the violinist to wedding feasts and round dances, playing the contra.
Mihai Olos used to return to the preventorium secretly before dawn and sleep off his tiredness during the day.
Mihai Olos's escape from death had the subtext of a Faustian pact allowing him to pursue his artistic destiny.
Mihai Olos was a teacher of English at the local Pedagogical Institute whose father owned carpenters workshop in Timisoara that would provide him with frames and panel for his paintings and logs for his sculptures.
Mihai Olos became world-famous especially due to his monumental Anatomy of the Artist translated into various languages.
Mihai Olos was then working on a project to decorate the national theater in Budapest and showed them his sketches.
Mihai Olos was only seventeen when the great sculptor died in Paris and he must have heard the rumors about the communist government's refusal to accept Brancusi's studio and bring home his work.
Mihai Olos must have read the articles published by the art critics Barbu Brezianu and Petru Comarnescu about the sculptor.
Nevertheless, avoiding to become just an imitator of Brancusi's model, Mihai Olos had to find some original element becoming his own.
Since 1962, while still a student, Mihai Olos had been present with his work in all local and regional collective art shows in Baia Mare.
Mihai Olos had been included with some of his paintings on wood panels, in the group of thirteen artists whose work was shown at the "Kalinderu" art gallery.
Mihai Olos had been invited together with other young artists to the reception Petru Comarnescu offered at his home, 10 Icoanei street.
On Comarnescu's advice, Mihai Olos offered three of his paintings on wood as gifts to critics Welcker, Buccarelli, Giulio Argan.
Local or Transylvanian critics began to write about Mihai Olos' art beginning with the first shows of his work in Maramures.
Mihai Olos had not recorded in writing his observations about the Biennale, probably thinking that he would never forget what he saw, one could just suppose the huge visual impact the show had on him.
Mihai Olos was happy to see that among those who introduced the artists in the catalog were the names of the two critics he had met in Bucharest the previous year.
Mihai Olos considered him to represent the new artists protesting against the consumerism of the society and the commodification of art.
Mihai Olos came with letters of recommendation to the members of the Romanian diaspora received from Petru Comarnescu.
Mihai Olos visit the most important museums, churches and historical monuments, and saw the most famous Italian artists' work.
Mihai Olos met or at least saw the work of the important artists of the day.
Mihai Olos was commissioned with the interior decoration of the local youth club.
Mihai Olos's work was characterized as a blending of the real and fabulous, as an expression of his tumultuous character, reminding of Rouault's expressionism.
Mihai Olos's first happening entitled just "25", was on 24 August 1969, like an ironic counterpoint to the parades celebrating the country's "liberation" from fascism by the Soviet Army.
Mihai Olos provided names neglected by the "usual" dictionaries, such as: Adolf Loos, Walter Gropius, Frank Lloyd Wright, Alvar Aalto or Mies van der Rohe.
Nevertheless, what had made the greatest impact on Mihai Olos was Paul Valery's Introduction to Leonardo da Vinci's Method.
Mihai Olos read the Romanian version dwelling upon the text as well as on the marginal notes.
Mihai Olos read with the same curiosity books on modern art.
Mihai Olos was only happy to insert his own mark, a drawing that represents his essential structure, onto an open space in the chapter on cybernetics.
Mihai Olos was frustrated because it was difficult to find among the artists living in Baia Mare partners to discuss with, in comparison with the four or five large cities in the country, like Timisoara etc.
The photographs with Mihai Olos raising his wooden scepter-sculpture above his head during his "interventions" on the road could be viewed as alluding to the leader and his travels abroad.
Mihai Olos met the most important representatives of the diaspora as introduced to them by Mircea Eliade.
Still in the sixties, during philosopher Constantin Noica's visit to a friend in Baia Mare, Mihai Olos had been introduced to him and became one of his admirers, though not one of the "philosophers' pupils".
Mihai Olos used the word "rostirea" in its meaning of "joining", corresponding to the combining of concrete elements so as to form a whole.
Mihai Olos had become more attentive to details and the geometrical elements appearing in figurative painting as well.
Mihai Olos was impressed by Le Ricolais' use of topologie and mathematics.
Mihai Olos had seen the spindle used not only for spinning but in magic rituals still alive.
Mihai Olos underlined with red Einstein's theory of the unitary space reminding that he had made some notes on the physicist's theory of relativity.
Mihai Olos read the book in the second half of the sixties and it contains the artist's marginal notes in pencil, and translations of the captions of the illustrations.
Mihai Olos would be one of the new commentators and supporters of Mihai Olos' art, inviting him to the shows he organized in Bucharest.
The way Mihai Olos had underlined in red pencil some of the ideas in the article and his marginal notes show his reserve as concerns the rather superficial presentation of the topic with no reference to what was happening in other countries.
Together with his friend, poet Dumitru Iuga, Mihai Olos prepared a special publication entitled Maiastra in homage to Brancusi to be taken to Bucharest and be distributed among the participants to the events of the Centenary.
Mihai Olos' explanation was that the critics who denied Brancusi's roots were doing it because, living in an urban environment, they simply did not understand what the Romanians meant by folk art.
Mihai Olos was witnessing how the walls split apart in the midst of the shrieks of those running in the corridor on the shattered glass splinters.
Mihai Olos was lucky to escape alive though deeply marked, like all the other survivors, by this closeness of death.
Mihai Olos had already become an admirer of Beuys' art when he saw one of the German artist's drawings on a crumpled piece of paper at a museum in Paris.
Mihai Olos was included in the second group, together with other fourteen artists, among them, just to mention a few, were Serba Epure, Mihai Horea, Toma Roata, Doru Tulcan etc.
Mihai Olos spent there a semester teaching seminars to the students and working on his new sculptures.
Besides the various constatative articles published by researches of the phenomenon of environmental pollution with chemical exhausts and mining residues, Mihai Olos was the first artist to protest in his articles published in the local paper.
Mihai Olos's studio, visited by many great personalities from Romania along the years since he moved in it, had become a meeting place for young poets and artists who saw in these meetings an opportunity to feel free.
Mihai Olos would show a part of this new thematic cycle of 44 acrylic paintings illustrating the ancient rite of the Mandrake at the Museum of Romanian Literature in Bucharest.
Mihai Olos sees in these paintings a "dialogue" between the Pollockian intricacies of the winding lines and the simplicity of human figuration.
In 1984 Mihai Olos participated in a pottery symposium held at the local factory in Baia Mare that would lead to other experimentation.
Mihai Olos continued to work on his project realizing other modules of smaller dimension.
Mihai Olos exposed his ideas to those who were at the Schloss and made a series of large paintings illustrating his ideas, one of them included in Hans van der Grienten's collection at Moyland Castel.
Mihai Olos had written and recited poems ceaselessly since his youth, some of them published in various literary magazines and anthologies, but those he collected in a volume remained unpublished till his death.
On 4 July 1992 Mihai Olos gave a performance "Poetica" in the Hungarian town Vac.
The success of it made Jozsef Bardosi, art historian and curator at the Greek Church Museum, organize a solo show with Mihai Olos' work, authoring the exhibition catalog.
Mihai Olos' painting "The double Bridge" is listed as already belonging to the Dutch museum.
Mihai Olos was included both in the section of the Baia Mare painting school, and that of the experimental artists.