Tatjana Kostanjević se nakon studija kiparstva na Akademiji likovnih umjetnosti u Zagrebu, prvi puta na hrvatskoj likovnoj kulturnoj sceni pojavila izložbom 1986. godine, a svojom prvom javnom skulpturom 1996. godine. Značajnom se u njenom skulptorskom radu može istaknuti 1999. godina, kada ju  stručna hrvatska likovna kritika prepoznala i istaknula kao značajnu kiparicu u relacijama suvremene hrvatske umjetnosti koja se iznimno uspješno hvata u koštac s pokretom u skulpturi. Od tih godina pa sve do danas njezin kiparski rad eksperimentiranjem se tako razvio da i ove radove pratimo kao zanimljiv segment života pokreta u skulpturi s temom Terpsihora.

"U likovnoj igri nadahnutoj unutrašnjom glazbom skulptorica izražava svojevrsnu umjetničku hirovitost, igru likovnošću ili dosjetljivost koja graniči s jedne strane umjetničkom erotikom, a s druge nas podsjeća na sasvim pojednostavljene gotovo simbolične prapovijesne prikaze ritualnih obreda  lovaca i sakupljača (španjolski i ilirski prapovijesni pećinski crteži). Ne samo igrom oblikovanja skulpture, nego i igrom riječi možemo promišljati i o plesu čiji smisao u pozadini nosi umijeće igre koja dopire do svijesti onoga koji se omamljuje. Ona dolazi kroz skulpturu, s jedne strane igrom oblika kako bismo bili povučeni na granicu erotskog  svijeta, inspirirana idejom muze plesa Terpsihorom, a s druge podsjeća nas na  prapovijesne simboličke crteže ritualnog plesa lovaca i sakupljača. Ona se igra psihologa koji kao da nam pokazuje Roršahove mrlje u skulpturi. Vidiš ono što želiš vidjeti, ovisi što te ponese, ovisi koji put istraživanja izabereš.“

Lidija Ivančević Španiček za Gradski muzej Požega, 2012.

 

 

Tatjana Kostanjevic appeared for the first time at the Croatian art scene after studying Sculpture at the Academy of Fine Arts in Zagreb in 1986 with her first public sculpture in 1996. The year 1999 was significant in her career as a sculptress as it was then that the expert Croatian art critics recognized her and distinguished her as a renown sculptress of the Croatian contemporary art scene whose expertise is in skillfully capturing movement in her sculptures. 

From her early years up until the present Tatjana's work in experimenting with the sculpture has developed to such an extent that one can look at her present piece of art as an interesting segment of the life of movement itself in sculpture based on the theme of Terpsichore.

" In a game of art, inspired  by inner music, the sculptress expresses her own artistic whim, play or ingenuity which on the one hand borders with artistic eroticism, and on the other reminds us of the simplified, symbolic prehistoric rituals of the hunters and gatherers (cave paintings from the prehistoric Spain or Illyria). It is not only via the playfull modelling of the sculpture, but also through word play that we could think of dance as it carries in its background the art of play which reaches the consciousness of the one who is entchanted by it. Dance comes out through the sculpture, through the play with shapes which takes us to the borderline with the erotic world, which is inspired by the idea of the muse of dance Terpsichore, and which, moreover, reminds us of the prehistoric symbolic drawings of the ritual dance of hunters and gatherers. Tatjana plays the role of psychologist who appears to be showing us images of Rorschach painting through the sculpture. You see what you want to see, it depends what takes over you, it depends which way you take in your research.“

Lidija Ivancevic Spanicek, for the Town Museum of Pozega, 2012.