Work by Tatiana Blass exhibited at the individual
"The end continues_Barro-cerâmica", by Tatiana Blass, exhibited in the solo show "Reviravolta", at Galeria Millan. Photo: Ana Pigosso

That Tatiana Blass is one of the main artists of her generation, we all knew that; that she continued to develop her poetic universe and expand her language with the same potency as at the beginning, this is a new fact. Or rather, a new fact, at least for me, which, for some years, I hadn't observed her production.

Sample Twist that the artist presents until the 16th of July at Millan Gallery, demonstrates how Tatiana maintains the power of her early career works, somehow still managing to tense painting and its history, through three movements:

Firstly, by the representation of three-dimensional spaces (rooms, stages?), irremediably conditioning them to the two dimensions of canvas or paper or glass.

The real tension in the representation, the low tones, all those areas worked by someone who knows the paintings of Alfredo Volpi and Paulo Pasta, but who is not content to be another obedient epigone of the two artists, one of those adepts only interested in crystallizing certain plastic solutions successfully achieved by both.

Tatiana seems to start from the painting of Volpi and Pasta to bring some more data to the pictorial language, expanding known solutions, experimenting with surfaces and overflows that end up escaping the rigor of older artists, hoping to bump into and penetrate more effectively in other areas, perhaps. more allusive.

Tatiana’s second movement is more evident in a painting in which the search for time in painting – painting, the art of space, theater, literature, the arts of time (see Lessing) –, becomes a kind of “ kaleidoscope effect”, in which the inner areas of the painting move and remove themselves, with humor.

It is interesting to see how decades after Abraham Palatnik solemnly proposed his “kinetic art” – a painting that, embarrassed, seeks to introduce time into space – Tatiana takes up the same problem now as a kind of child’s play, a game so serious enough to get emotional.

Tatiana's third movement focuses on the transition between painting and sculpture, producing objects or “three-dimensional scenes” that take place within ideally cubic structures, pictorial, theatrical scenes.

The use of these virtual boxes where the artist's sculptures “take place” is the same procedure used for centuries by Nicolas Poussin to make his paintings (I am referring to the models produced by the artist, reproducing the scenes he was going to paint). Poussin in the 17th century and Giacometti in the 20th – with his hollow cubes, where some of his sculptures “occurred” – also makes me return to the work of “dismantling” Tatiana's sculptures.

In these works, Tatiana makes use of such a traditional procedure (the models by Poussin, the boxes by Giacometti!) and finds – amazing! – two other artists, these contemporaries who, each in their own way, transform and blur the limits of sculpture, painting and theater. I refer to Claudio Cretti e Erika Verzutti.

Cretti, from the exploration of unusual objects and their relations between themselves and the real space, walked towards the construction of "stages" in which these same connected materials, now transformed into figures, claim for the sculptural work both the theatrical and the pictorial. .

Verzutti, in turn, by incorporating the bases that receive their forms in the general configuration of the work, also finds painting and theater where – for immaculate modernists – there should only be sculpture.

It is in this sense that Tatiana Blass walks, embarking on the creation of stagings that are on the edges of the real, or introducing time when it should only have space, in the limits between painting, sculpture and theater. On the threshold of matter and emptiness.


Interesting how both Cretti, Verzutti and Blass, through different paths and with such unique results, demonstrate the imperative need for contemporary art to seek its origin (there, where theater, painting, sculpture and living painting meet) as a kind of safe-conduct to continue existing and meaning something today.


Tatiana Blass: Turnaround
Millan Gallery: R. Fradique Coutinho, 1360 – Pinheiros, São Paulo (SP)
On display until July 16
Visitation from Monday to Friday, from 10 am to 19 pm; Saturdays, from 11 am to 15 pm

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