Ole's works, which often center around representing contemporary issues in Angolan society, have received international acclaim for their incorporation of found materials, painting technique, and unique interpretations of recent Post-Colonial history.
Upon returning to Luanda, he continued his studies at the Liceu Salvador Correia, where his burgeoning artistic career included his first photography series of black and white portraits of locals.
[6] Following the outbreak of the Civil War in 1975, Ole's work began to take a more grounded and realist tone in response to nationwide tragedies, as he moved back into the photography and filmmaking of his youth.
[7] The last two decades of the twentieth century were the most prolific and diverse period of Ole's creative output, as he engaged in a variety of styles and mediums, ranging from massive found-object sculptures to oil paintings and paper collages.
[8] The late 80's and early 90's saw a shift, in Ole's practice, towards more sculptural works and found object installations, creating a style that would typify his career as evidenced in later retrospective exhibitions.
[9] These sculptures often consisted of figural ironworks, generally two-dimensional folk creatures or smaller masks adorned with found metals, appliances, rocks, and construction hardware.
One of these sculptures, Margem da Zone Limite, (Boundary Line), an angel-like figure formed out of rusted street signs and old lamp stands, was featured in the 1995 Johannesburg Biennale.
In 1994, Ole began the still-ongoing series loosely identified under the "Township" title that has become the most popular and acclaimed body of work in his career, as well as his primary focus.
The project began as a photography series of the ramshackle and makeshift walls that make up houses in Luanda, which are often constructed from random combinations of metals and available materials.
[11] After years of experimenting with his technique of found object arrangements around the turn of the century, Ole expanded this style into large-scale installations, which often consist of shipping containers and construction materials.
These works signify and edify the presence of laborers and near-peasantry in Angolan society, as well as pointedly reminding viewers of a recent colonial history that has induced slavery in the past and impoverishment in the present.
"[13] In the exhibition titled "Who Knows Tomorrow?," which included several Township Wall iterations in the checklist, the National Gallery Berlin noted:"Ole suggests a link between failed modernist social engineering and urban dystopia in postcolonial Africa and across the globe.
Walls in his work become visual texts and archives of the bare lives of inhabitants of shacks and makeshift buildings located at the margins of Angolan cities and towns.
The more recent wall constructions suggest resilience and creativity in their assertive colorfulness (reminiscent of Pop Art), as well as the defiant impulse to humanize even the harshest urban slums.
His Wet Triptych photograph from 2013 continues a series begun in the early 2000s, in which Ole juxtaposes close-up shots of natural materials with different textures.