About Táňa’s sewing embroidery
There are ways to use a thread in a way it has not always been used, and yet, it still can be in the right place. This is, what Táňa does with them, with the threads. It is not female handicrafts that she does. She has swapped a pencil for a sewing machine to try to stitch and restitch the most diverse materials, to express the web of thoughts and relationships that irritate or excite her and which she has to deal with. Balancing the ballast so she does not fly like an overturned aquarium. To untangle the tangle – not with somebody else’s thread, but with her own thread.
She is probably helped from the labyrinth of what she feels, thinks, lives and sews, by goldfish (though never caught) or mice with fish tails, an umbrella (which is sometimes a boat and othertimes a shell), as well as a ladder to heaven. All these poetic monsters she stitches into banal patterned wallpaper, plastic and foil, glossy paper for packing birthday gifts and potato sacks. The Mouse Trap, as she has called some of her exhibited drawings (or collages which she calls Embroidery), suggest that Táňa Kuzmová is not afraid of living mice and he wants to deal with the traps for them too.
The way that Táňa Kuzmová has decided to make her present work visible, is remarkable: during the holidays when the Stoka theatre was not hosting a performance. In a theatre without a theatre, without an audience. She is agreeable with an exhibition in a locked room. This is her portrait. She is silent, the key has to be found.
Her most expressive drawings are those that are perforated. She ripped open a dense, dashed smudge with an interstice – a crack – a gap. In those liberated from a mass of paper and lines, lies the question and the answer as well. They are a form of Táňa’s alternative communication. But, who knows? Who knows what is beyond the black hole?
Fragments of Luba Mrenicová’s texts from the opening of Tatiana Kuzmová’s exhibitions in Zvolen (1993) and Bratislava (1999)