Tatana Kellner
The Golden Rule
2015
drawing in sand
variable

The Golden Rule, is an installation inspired by the the 'golden rule's teaching. Using the text of the Golden Rule from 13 major religions and cultures, these moral dictums came alive in white sand on the Wallkill Valley Rail Trail. Throughout the month of August 2015, I lettered one moral dictum each day on the rail trail. As the trail was walked or biked upon, the text slowly dispersed, eventually disappearing, only to re-emerge in a different location on the trail the next day. With this work, I hoped to inspire the passers-by to wonder and reflect on compassion and consider its place in our daily lives. This action also served as a metaphor for the unending quest to practice what we preach.

Poisoned Well
2013
silkscreen, water soluble paper, tank, motor
variable

Poisoned Well addresses the issue of hydro fracking and it’s true cost to environmental degradation and human health. Slowly rotating motor lowers a roll of paper, upon which are printed the names of 70 of the most toxic chemicals used in hydro fracking, into the water tank. Upon touching the water, the paper dissolves and the text cascades to the bottom. Over a period of days a build up of letters and cloudy paper pulp accumulates at the bottom of the tank, making clearly visible the seemingly invisible potential negative effects of hydro fracking on human health. The exhibit includes bottles of 'produced water', which is what remains after the paper dissolves.
I'd like to thank the Puffin Foundation for supporting this project.

Blue Line (in winter)
2009 - ongoing
crocheted New York Times bags
6" x 700 ft

Blue Line is a meditation on the disappearance of the print media as well as a comment on living in a rural area. It is made by crocheting the blue plastic bags New York Time is delivered in to my home. The Blue Line mirrors the small, rural roads which were drawn in blue on the road atlas, another disappearing ‘species’.

Bread
2010
cast handmade paper, video projection
12' x 12' x 4'

Bread reflects the uneasiness of our time. In most cultures bread has significance beyond mere nutrition. Bread is the iconic image for both poverty and wealth.

Iron
2008
20 dress shirts, silkscreened with visible and invisible ink, automated iron

Iron is an installation consisting of an ironing board with an iron attached to an automated arm. Each day one white dress shirt is placed on the ironing board. Throughout the course of the day an invisible hand presses the shirt, revealing the text. The ‘gun shot’ steam connects the domestic appliance to a long history of servitude. Other shirt text morphs the iron into an anti terrorist weapon able to detoxify anthrax.

Into the Woods
2009-2010
digital prints, each banner 144" x 30", drawings of ticks and dead ticks

Into the Woods investigates the adaptations we must make as biological mutations, global warming and developmental pressures affect our lives. I use sardonically humorous images to illustrate these adaptations.

Requiem for September 11
2002
silkscreen on organza
45 banners, each banner 17' x 4'

Requiem for September 11th was my response to the tragic events of September 11, 2001. For the 10 months following 911 I cut and re-assembled the ‘Portrait of Grief’ pages from New York Times. This was my way of doing something, anything about this national tragedy. As I read the sketches I cried and laughed and was saddened by so many lives cut short. I was struck by the youth of the victims and their apparent normalcy. These were not captains of industry, but ordinary people aspiring to the good life. What spoke to me most were the victims' faces, mostly smiling in snapshots of happy times.

Re-consider
2007
trace monoprint on handmade paper
variable

An installation of 200 disembodied heads comment on unjust war, torture and the effect of mis-information and manipulation of facts by the media.

While You Were Sleeping
2001
liquid emulsion on fabric, light bulbs, motion sensor
variable

Installed in a darkened room. The pillows light up when approached by the viewer

Eye Witness
2001
photographic emulsion on cast handmade paper
variable, each eye approximately 5" x 7" x 4"
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