January 25, 2014

3: Kathryn Brackett Luchs, Lois Teicher, Marie Woo

by Jim Welke

Detroit Artists Market

3: Kathryn Brackett Luchs, Lois Teicher, Marie Woo / Detroit Artists Market

Kathryn Brackett Luchs

Birdy / Kathryn Brackett Luchs

3: Kathryn Brackett Luchs, Lois Teicher, Marie Woo up thru 17-February at Detroit Artists Market, the 82-year-old grande dame of Detroit galleries, features works by three artists presenting art in three media (more or less). Entering the gallery through the back door you stand at the narrow end of a long rectangle facing into a tall, wide piece by Kathryn Brackett Luchs called Birdy: 12 graphic films set in two groups, 2-wide and 3-high, positioned on either side of the original charcoal on canvas work about 7ft tall and 3.5ft wide. The films show negatives of sections of the original arranged out of correspondence — sections from the middle appear on the sides, bottom on the top, etc. But at first, you might not notice that the films capture sections of the original. This writer did not — the self-revelatory process takes a bit: the mental gears spool up and you sort out what you see after the requisite processing delay. That’s fun. It feels like you own it when you get there. (Others might see what’s going on instantly. Bravo. Less fun. Revelation should have a price.)

Kathryn Brackett Luchs

Buddha, Buddha / Kathryn Brackett Luchs

Adjacent to that hangs a similar work, of similar size, with nine negative films stationed to the right of the original, titled Buddha Buddha. Clued into the magic, you compulsively study the films to find their correspondence in the original. The more you look at them, the more the films feel a bit like x-rays, though. That feels unsettling — x-rays give away too much, kind of like finding out how sausage gets made. Next, you might sense a deliberately primitive quality to these works. This emerges partly from their frenetic, sprawling execution in pencil on a pure white field that suggests a reluctance to overwork them; an automatic quality. Also, the canvas stapled to the wall, the films tacked up with pushpins suggest studied carelessness. This seemingly hasty presentation, combined with the implied motion of the swirling gestures (like sub-atomic particles in a particle collider) give these two works an evidentiary feel, like proofs to some fundamental but inscrutable principle.

Beside this hangs Allegory, another work with a similar motif, equally large and enveloping. These works engage via their immediacy and the mystique of the negative translucency in the films. Give them time to seduce with their seeming simplicity.

Kathryn Brackett Luchs

April My Feng / Kathryn Brackett Luchs

April My Feng, also by Ms. Luchs, expresses a more deliberate process, possibly a more elaborate intention. Another large work (about 7ft by 4ft), it consists of three long sheets of paper mounted on canvas to form a triptych with woodcut and block prints done in ink. In the center, at least five different colors form lavishly layered vertically aligned patterns similar to tree bark. Masked horizontal bands of distinct colors mirrored from the center section appear imprinted on the side sections, some washed out with white, also in distinct bands. The sides, impoverished of color and texture, appear almost as fossilized remnants of the lush center. The balance of colors and textures feels comforting in an ineffable, organic way, and the transition of intensity from side to center feels like a natural emergence. The effect compels your eye to the center where it finds rest.


Lois Teicher

Eclipse Series #6 / Lois Teicher

Moving down the long wall of the gallery toward the front, your attention might be drawn to an incendiary orange, circular form projecting from the wall: Eclipse Series #6 by Lois Teicher. Two sections comprise the welded aluminum sculpture. On the wall directly opposite are four framed cut paper studies for this and other pieces in her Eclipse Series, one of which, #4, occupies an adjacent alcove.

Lois Teicher

Eclipse Series #4 / Lois Teicher

These pieces, spare and geometric, possess a strange magnetism, they enthrall like the true solar/lunar eclipse stages the works represent. Or, perhaps they form a gravity-well that pulls the viewer in. But like the surface of a black hole, their surface remains satisfyingly, infinitely featureless regardless of how near you bring your eye to them. The intensity of these works seems to create an immeasurably slow vortex that impels you nearer and nearer, promising horrible, terminal ecstasy if your fall persists.

Lois Teicher

Three Orange Shapes (foreground) and Two Round Shapes (background) / Lois Teicher

Between these works, several others stand on pedestals, with their cool fashion model elegance on vivid display. These too pull you nearer, as your brain struggles to fit their delicate, kinetic geometry into an ancestral, archetypal frame of reference. They won’t fit, but your brain keeps trying, a windup toy bumping into the wall. It feels good, like synaptic gymnastics.

Marie Woo

Orange Bowl, Large / Marie Woo

Back toward the rear of the gallery, the ceramics of Marie Woo gather around you. They beckon like muses and your eye darts around from one piece to the next, like a child in a forest glade surrounded by wonderful flowers, pinecones, and fungi. But focus on one; look close. Each piece occupies its own little place in Ms. Woo’s universe with a character all its own. A large, orange bowl, rightly called Orange Bowl, Large will catch your eye. It seems forlorn at first, riddled with imperfections, but then you appreciate the imperfections as part of its charm.

Marie Woo

stack / Marie Woo

A flapjack like stack of warped, undulating, topsoil-toned, ceramic discs appears as a monumental mushroom from the child’s enchanted forest — you become that wide-eyed child when you encounter work like this (at least you should).

Marie Woo

Winter / Marie Woo

Nearby sits an outsized clutch of insect eggs, Winter, that form an oddly compelling bracelet in non-reflective color, gradating from blackish on top to greenish underneath. They look nourishing somehow. Over on the wall hang six wall pieces that appear as ancient and unknowable glyphs, all in those dark, subterranean, almost mystical tones. Beside these, two shelves offer seven more pieces, one a dark little totem with untold powers, the rest more traditional pottery.

Marie Woo

wall pieces / Marie Woo

Finally, in a screening room, a short video of ceramic creation projects on a large, grid-like ceramic piece with protruding hemispheres randomly placed in the grid. The irregular surface distorts the projected image with novel effects, but the whole thing might work better out in the main gallery with the other work (despite the diminished brightness). As it is, it feels a bit isolated, but worth a look.

Kay Young

Photographs by featured artist, S. Kay Young

And do not forget to spend time with the photographs of DAM’s featured artist, S. Kay Young. These 21 images offer close in shots of woodland details that might escape the undiscerning eye during a romp through the forest. The colors and contrast of these earth-toned images will engage the viewer to an unexpected degree, and might inspire them to take closer notice of their surroundings. Pick up one of her prints, and support a local artist.

Observe Ms. Woo’s ceramics, resting opposite those energetic, intense, cryptic works of Ms. Luchs, and adjacent to the forceful, monolithic pieces by Ms. Teicher: you feel an ethereal sense of balance and unforced grace, an unquantifiable harmony. That’s a credit to the artists, but also to Gary Eleinko, the curator. Nice work.

DAM will present an artist talk moderated by Sharon Zimmerman of the Kresge Foundation on 1-February (2-4PM) — be there if you want some stirring insights into the work herein and tales of the Detroit art scene.


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