While space originally plays the central role in Tzatzalos' art, finding its inspiration in the relations between landscape, nature and the human component, she currently closes in on the human dimensions, always implicitly present. The human body is to be found in the cavities of her objects, physically and spiritually (Shelters, 2004). Or the human presence is suggested dreaming or travelling along with the materials and the installations she constructs (Boats, 2001). Tzatzalos' art pieces literally fit the beholder. Her organically shaped sculptures of synthetic resin or rubber are to be worn, on skin, hip or around the neck. The distant spaces of her former installations now spiritually invite the public to embark and take off to distant skies. Archeological findings are being structured into decorative patterns on cloth (2006) and Venus (2006) descends to encounter us people as a media communicative oracle. While her older installations were theatrically staged, Tzatzalos now actually
invites us to join her at the table. The table piece, that is always there in her work. The table that mirrors the human being, according to Tzatzalos. Tables support like consoles, they allow us to work on them, meet people around them while at the same time referring to our human size with their proportions. Like the boats, the archaic shape Tzatzalos uses to let us move, travel overseas, find shelter in and build our history with. Intimicy, that is the place you reach when you follow Tzatzalos' work like '14 foot steps Hephaestia' (1999). The steps end in the heart of the installation itself. The strongly narrative installation consists of a photo of a beach in front of a hill-like landscape. In front of the photo two wooden objects are staged: a boat form and a conical shape holding the imprint of a footstep; 14 narrow wooden boxes, arranged in two rows of seven, containing small objects, guide you into the landscape.
Member of the NKvB, BBK, Sculpture Network and Artist Association Flevoland