São Paulo, SP, 1979
Tatiana Blass analyzes the effect of time on objects and mummifies bodies at the exact moments of their transformation. With the artwork “Metade da fala no chão- Piano surdo” (Half of the speech on the floor – mute Piano), Tatiana Blass presented her work at the 29th Biennial of São Paulo, which gaining visibility: while being played, the strings of a grand piano were doused with molten wax. The musical instrument is petrified as a sculpture at the Biennial, representing its irreversible silence.
In 2012, the artist buried a car in front of Millan Gallery, mobilizing mobility. Her paintings of almost empty stages and installations in which sculptures cast in paraffin melt under the spotlights portray cases of paradigm.