A curious interaction of formal elements exists between Odza, a sculptor and Miss Lachman, a painter. Odza’s sculpture draws vitality from the open metal tradition which began with Gonzalez and continues in the work of David Smith. A recent graduate of U.C., Odza became involved in the tradition via his instructors, Sidney Gordin and Wilfrid Zogbaum, both familiar practi­tioners of the linear space-enclosing sculpture idiom. His single variant on a now well-known theme is his use of very heavy metal components giving his sculpture a certain massiveness usually lacking in welded sculpture.

Miss Lachman’s paintings, while less dynamic in structure than her co-ex­hibitor’s work, contain the same spatial resolutions two dimensionally as does Odza’s three dimensionally. A black stroke against a white ground in Lach­man’s painting serves the same space­-defining purpose as a length of arcing round bar stock does in Odza’s sculp­ture.

Miss Lachman’s solutions to the prob­lems of form, space and color are far too simple. Her work suffers from an overly facile paint handling which she could easily cure by more intensive dig­ging into the possible resolutions of each picture she paints.

Odza’s sculptural difficulties are of a different nature; he seems faced with so many formal possibilities and sculp­tural concepts that rather than reject many for the one, he samples a num­ber of them. It is a perfectly valid process in discovering a direction, al­beit a confusing one for the viewer.

—James Monte