The estate of Ted Faiers is a trove of work that spans four very distinct periods and styles. His paintings from the 1940s are western landscapes, reminiscent of Grant Wood or Thomas Hart Benton. Faiers paintings from the early 50s are primarily studio paintings – still lifes, portraits, and street scenes – with a limited palate and a modernist technique. The rest of the 50s found him under the influence of Will Barnet, and those paintings and prints are distinctly abstract and an extremely flattened sense of space and shape. Those shapes became very minimal and fluid in the early 60s and shortly thereafter morphed into stylized figures. With the advent of pop art in the later 60s Faiers’ figures gained a cartoonish sensibility, became more pictorial and narrative. Then, in the mid-70s, he began constructing stretcher armatures and attachments: noses and breasts sometimes protruded right off the canvas.
Faiers had a strong exhibition history throughout his life. He sold work – even during the 1950s in Memphis where his art must have been considered very “out there.” He was a talented educator and has legions of former students. But at heart he was a working artist. Looking through his life’s output it is easy to understand that he had an addiction to making art. David Lusk Gallery is proud to continue growing the recognition of the art of Ted Faiers.