The driving force in Dora Tass' research and practice are objects that display visual poetry, historic memory and, as defined by the artist, "la poetica dell'assenza" (the poetics of absence).
The artist takes inspiration from Dadaism and Surrealism by merging memories and collecting objects that are obsolete, yet very familiar. The sense of sacred and surreal in these complex and beautiful works clearly evokes George Bataille's gap between the imaginary and the real, which he brought forth in the surreal art magazine "Documents".
The dismembered elements, in her work, are juxtapositions of a ghostly past, enclosed in a surreal present that represent an archeological archive of the future. Therefore, we are led to perceive the notion of time in new ways that confuse us and leave us speechless.
From the artist:
"In 2012, I attended the International Symposium of Display Holography at MIT lab. Currently, I collaborate with the American light artist August Muth working at the hololab "The Light Foundry" in Santa Fe, NM, where I create my Holographic Light Artworks combined with sculptures installations.
Through my work, I strive to record a three-dimensional topography of pure light, revealing a window into the elusive realms of the light-space-time paradox. I play tricks on the senses, destabilizing one’s perception mixing real objects and holograms, which change based on where the viewer stands, provoking visual and cognitive short-circuits. The physicality of earthly materials becomes nonmaterial and nonessential due to the tactile quality of holographic light, assembled with real objects in a sort of 'augmented' reality."