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The featured series of canvases was born after the artist’s journey to Ko Samui – a Thai island. During the first visit, in 2014, Tatiana and her family came across an abandoned art gallery. The local artist, who had once owned it, died long ago, yet, they met and made friends with his granddaughter. During a new trip to Samui in 2017, Tatiana visited that place again to discover the gallery was in the awful state, with leaking roof, crumbling walls and paintings, eaten by termites. The artist decided to take and use some of the undamaged canvases in her new project. Such a symbolical gesture of giving the paintings ‘a second life’ becomes even more eloquent considering the images that originally were on them: all of the pieces initially were a curious sample of the zen calligraphic motif, known as ensō. Ensō is a hand drawn circle, which for the Buddhists became a universal symbol of integrity, enlightenment, the cyclical nature of existence, as well as a visualization of Void: as a the Heart Sutra reads, “Form is void and void is form.”
Tatiana captures delicate and powerful female characters not to celebrate their beauty but to show ‘the infinite in finite.’ The floral, Art-Nouveau-like, ornamentation underlines the idea of temporality of all existing material things, as there’s nothing more transient than a life of a flower.