The Robert Kidd Gallery, in Birmingham, Michigan opened an exhibition of sculpture by the artist Lois Teicher on May 21, 2016. These hand-welded shapes of metal with spray painted surfaces rely heavily on her use of space and form. Working in a minimalist tradition, Teicher brings a high level of technical accomplishment to these abstract works. These sometimes folded pieces of colorful metal are hard-fought ideas that use pure geometric forms that give the viewer a certain type of comfort that is easy on the eyes. It brings to mind a piece of Teicher’s work outside in a lush organic and natural setting where there is an extreme contrast presented.
The conceptual idea presented in Teicher’s work reminds this writer of work by Robert Mangold and Ellsworth Kelly. Searching for the roots of the minimalist tradition in a broad sense, these geometric abstractions are easily associated with the Bauhaus School in the work of Yves Klein, Piet Mondrian, and Joseph Albers. Some might suggests the movement was a reaction to abstract expressionism, but I would argue it is more of an inner-sensibility that drives this work; that there is an internal intellectual idea that says these forms are part of what creates the space/time continuum in the universe.
It’s taken this writer a trip to Donald Judd’s Marfa, Texas, and Dia: Beacon up the Hudson River from New York City, to contemplate and digest minimalist concepts. The recent passing of artist Ellsworth Kelly in December 2015 bring to mind a kindred spirit with Ms. Teicher, who completed her graduate work in 1981. She says in her statement, “My studio work is generally constructed of hand-welded metal that I personally fabricate. The process of expressing ideas mostly germinates from a solitary inner experience the flows outward and takes the form of visual expression.”
The work on the floor and the wall sings a similar minimalist note, but Ms. Teicher takes her own step when she makes the form fold. What needs to be said is the role scale plays in this work. Some of the work in this exhibition seems like scale models for larger work that would be placed in public spaces. Given the space afforded by galleries, it’s these models that often stand alone as works of art in search of a public space. There is a natural balance in Teicher’s pieces with a Zen-like simplicity that informs each piece of work with a high caliber of visual experience.
Continuum, May 21 – June 18, 2016 Robert Kidd Gallery, Birmingham, MI