“Go Figure”

The Tangent Gallery
715 Milwaukee

Detroit, MI 48202
313-873-2955

www.tangentgallery.com
Friday, Saturday 12-5.

February 20 through February 29.


Despite the disappointing loss of its guiding force in director Mitch Cope, Tangent Gallery is continuing forth. While we can speculate and await Cope’s new direction, Tangent, in the meantime, has let the artists take over the asylum. They have done a pretty good job of it too. WSU graduate students, Kristin Beaver, Helen Bevan, and Mona Shahid bring their figurative works to the gallery walls. The three artists made some spot on choices about how to occupy the large and multi-leveled space. Large works by Beaver and Shahid command attention downstairs, leaving the upstairs for smaller pieces by Bevan and Beaver. Also all three painters get a chance to be side by side with smaller pieces in the alcove space, and Beaver has a host of her small paintings on display in the portable house (a remnant from last year’s House show. See our archives.)





This show very much puts a spotlight on Ms. Beaver’s work in terms of scale and sheer amount of material, and it’s a spotlight she doesn’t shy away from. Upon opening the Tangent door, a viewer is confronted with one of her large paintings, which sets the tone for the rest of her work. A brief description: two figures – boldly lit, retro dress, playful staging, all painted in intense color. Beaver plans the work from composition through staging and photography, the costuming of her models, and the direction of the lighting which brings forth tangible shadows. These are clearly about a certain kind of style, one that speaks of her generation’s fascination with things past and making it their own. But behind the subject matter Beaver’s attention to the more traditional aims of painting lies revealed. Color and composition are essential – the wild pattern on a woman’s dress interacts with the shadows in the background. The shadows play an essential role, cutting up the space in dynamic and intriguing ways. One could imagine these pieces functioning as entirely abstract paintings. The figures make them more fun, and Beaver’s sense of play and style shine through. Also as mentioned above, many of her smaller pieces are on display. In some cases these might serve as studies for the larger works, but they stand on their own as strong, if simpler, satisfying, compositions.





The in your face, loud painting of Beaver, is turned to mute and the lights dimmed on Shahid’s canvas. Her encaustic portraits portrayed from the shoulders up shroud the figure in a thick atmosphere. If Beaver makes her shadows tangible, Shahid has given the air around her figures a physicality, a presence nearly as great as the figures portrayed. This serves to blur the figure, like looking through water, amber, or fogged glass, yet she still captures the likeness. These become deeper portraits of the person, as she lets go of some of the physicality and digs deeper into her subject’s mental terrain. Beyond their looks she captures something about them more than a photograph could. Who they are is wrapped up in their expression, their gesture, and the very atmosphere they reside in. Shahid creates compelling, psychological portraits that invite the viewer to fall in and get lost in their embrace.





Bevan’s works consist entirely of self-portraits. While these may not yet have reached the level of polish of her sister painters, she exhibits a courage to experiment and look unflinchingly at herself. These are not glamour shots, but intense examinations of the artist and what it means to be a painter. There are moments of stiffness and uncertainty in the drawing, but they are balanced by an excitement of mark making and an honesty of expression. In the various ways she has represented herself, one can see elements of painters past, working their way in and becoming a part of her experience. That they are shown in series – same size, same format – allows viewers an inside seat to her process. This valuable journey of discovery is laid bare. In some pieces Bevan abandons tight representation and focuses more on form and color. These create some beautiful and truthful moments.


This is a great chance to see strong figurative work, from three painters you are sure to see a great deal more from in the future. – Nick Sousanis