After 2000, she paused for a certain period of time (for maternity leave) then returned to her own creation at the same time she joined the Art School at Devínska Nová Ves. Although she has continued with her ceramic work, and her work with textiles (which was present before 2000) has come to the foreground, it is her dialogue with drawing that has become decisive. She tampers with various techniques – filet crochet, felting, weaving, and wristbands; once again they are also made as functional items – blankets, skirts, coats, caps. She also creates individual hanging textile images, which can also serve as rugs, but they are usually seen on the walls of galleries.
Her discovery of old textile techniques is related to her family tradition; in childhood she watched with admiration her grandma work on an old weaving loom in Šudince near Dudince. The return of textile art in contemporary art also had an influence on her. She has not forgotten about embroidery containing the folk motifs of angels, proverbs and sayings that were once part of village rooms. Although there is nothing left of these specific motifs in her work, the techniques and colourfulness remain.
The advantage of working with material is its handmade aspect, as with ceramics, and easy accessibility; in the 1990’s it was thread, in the 2000s it was enough to get second-hand T-shirts and material was readily available. Kuzmová’s current work is part of the trend of creating art with one’s own hands, in the absolute presence of the creative process, as in some sort of opposition to computer-generated production or the cold and hard material of manufactured objects. The author is drawn to the soft medium since it contains a number of meaningful layers, generating numerous associations connected with her life story, and also with general gender themes. Her work remains soft and delicate, while being confidential and a known material to everyone.
Along with the material in Táňa Kuzmová’s work, colour has found itself in a completely new role. At first colour was a secondary element of her drawings; later it came to the foreground as part of the surface mosaic of practical ceramic objects, and today it plays the major role. Some elements from her previous stage of ceramic production, which she has not abandoned and deals with in parallel to her textile images, have been transferred to her colour compositions in this new material. Her textile images have an unrestrained and ungraspable power; they are literally on fire with their colourfulness, as if they carried the glow from a ceramic furnace. But our view would not be complete if we did not add that the images also reflect the experience of earth and clay; a connection that is as reassuring as any return to the root of things. Their format is intimate and designed for private interiors.
Some images can be classified as the style of lyricized geometric abstraction.
A dialogue with nature is articulated not only through colourfulness and shapes, but also through specific object-windows that offer a view of the landscape of textile images. Just as her sewn drawings were once transformed into pillows, today, her textile images change into spatial objects.
Fragments from Wikipedia