Tatiana Bohm
Bio ART-FLESHED by Chloé Pierson (Researcher in FNRS) (…) Many recurrent themes emerge out of this mixture of materials: questions about appearances, woven onto the fabric of inward and outward; a research on the full and the empty as being symbols of absence-presence; a work on the transformation cycles, heath of constant renaissance. Her imagination […]
Bio
ART-FLESHED
by Chloé Pierson (Researcher in FNRS)
(…)
Many recurrent themes emerge out of this mixture of materials:
questions about appearances, woven onto the fabric of inward and outward;
a research on the full and the empty as being symbols of absence-presence;
a work on the transformation cycles, heath of constant renaissance.
Her imagination is constantly brimming with enthusiasm and wrench; marked by the dynamic of material cycles;
“the sculptural food”, always reusable, always transformable.
The creative process is essential and becomes more evident.
Where others try to wipe away the marks of a brush or a chisel, Tatiana gets back to the primal «act of making ».
She gives the flesh an alchemical twin.
The appearances are now a wide opening.
The picture is changed.
Tatiana washes an organic portrait with blood and water, she burns a woven painting so as to bereave it from any claim to eternity,
she tans the faces of Africa scrapped in leather.
The artist talks to herself.
It is then up to us beholders to figure out parts of our lives – if not of our identity, in these wounded, cracked and amputated creatures.
A primal scream runs through the work, fascinating and scaring at the same time.
Like a sob reshaped, carrying an overwhelmingly emotional burden that needs to take form again.
The symbolical killing of the image followed by a reintroduction of the being under a digested form means much more than a mere catharsis.
These surgical incisions also work as social accusation.
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