Tangent Gallery
715 Milwaukee

Detroit, MI 48202
313-873-2955

Thurs, Fri 12-7pm; Sat 11-5pm.
10/18 through 11/23


Tangent Gallery continues to make its impressive mark on the Detroit art scene with an exhibition of the works of Clinton Snider. Snider participated in last year’s “10 Artists Take On Detroit.” With Scott Hocking, he created the installation “Relics” turning derelict objects from Detroit into a temple to our past. The piece transformed these objects of decay into pieces capable of beauty and a sense of rebirth. The transformative power of art continues in the paintings and installation pieces in this new body of work.




“Ruins”


Snider’s paintings contain images of industrial landscapes wrought with decay. Through the use of light and the lingering sense of memory which landscape can produce, there is also a sense of brightness and a feeling that new life is on the horizon of this otherwise lifeless environment. The paintings suggest that perhaps decay of the city is as natural a cycle of life as a fire in the forest that makes way for new growth.


Snider does not simply stick to rendering these images, but constructs the whole piece to carry his idea. Instead of typical framing devices for the paintings, in many cases he has constructed industrial assemblages to contain the image surface. By concerning himself with all these layers of ideas, Snider creates a meta-level of imagery, where the piece is both about something and is that thing at the same time.



“Tree of Heaven.”


Snider makes a further innovation to carry his ideas. On some pieces, he has constructed irregularly shaped surfaces from old wood, allowing him to reach beyond the limitations of the traditional canvas. With this technique the lines of perspective can stretch outside the rectangle and allow his horizons to reach a greater depth than ordinarily possible. By looking deeper into space, we are given the sense of looking farther back in time as well.


In addition to the paintings, Snider’s installations continue the dialogue with found objects where “Relics” left off. These single pieces provide a discourse on what we throw out and let fall into disrepair. The piece, “Children’s Garden” is particularly powerful. Boxes of old, decrepit crayons line the top of the piece, sitting on an upright, burnt, cracking, tile floor. Looking downward crayons flow from their boxes, like logs floating down a river. Combining memories of childhood with urban decay makes this a haunting, evocative piece.


In an age where our past is disappearing, it is this ability to call it back up and make it palpable where his strength lies. Snider is a solid painter to be sure, but perhaps the titles of painter or installation artist need be replaced with that of a “Memory Artist.” By reminding people of where we have come from, he won’t let us forget where we are going. Snider’s art displayed on Tangent’s abandoned warehouse turned art gallery, leave a lasting impression and a sense of hope for tomorrow.