Inquiries & Project Proposals: Tanxa.business@gmail.com
Tanna Fiore (b. 1999, American) plays in a terrain where identity, power, and desire are dismantled and reassembled through the marrying of intermedia performance and synthesized sound. She interrogates societal constructions in reflection of the innocent soul. In works like All I Want Is Vulgarity and Deepness of My Soul, she wrecks into the dualities of self-imposition, confronting the ways in which our identities are commodified, fetishized, and controlled in submission of one's own will.
In an embodiment of transgressive behavior, Tanna's pieces do not shy away from discomfort; rather, she embraces an unapologetic provocation to critique and expose the normalized power structures of hierarchical, derogatory relationships—those systemically deployed as hegemonic moulds shaping our collective experience. Her simplized intention is to elicit debates about the spaces between liberation and exploitation, pleasure and shame.
Grounded by her upbringing in Miami—a city shaped by hyper-sexual commercialization and a socially censored pornographic industry—Tanna's art reflects a keen awareness of the commodification of necessity. In her work, women oscillate between roles: wife, entertainer, muse—martyr, masochist, and the enabler. These archetypal figures exist in the interstice between schemas of idealization and impermanence, acting as performing identities constructed within pursuit of societal validation and selfhood. These characters lie suspended in hopeful dreams of a silver-veiled vestibule, untouched by scarcity of self or other—yet each actor bears the emotional and physical costs of
performance.
In Deepness of My Soul, the pursuit of recognition becomes an overindulgent act of self-erasure. What begins as a personal desire for success turns into the willingness to completely surrender, letting go of individual ambitions to serve in alignment to a greater external force, with submission being the core of the speaker's longing. They offer their soul—not for material gain, but to be of use—abandoning personal identity in pursuit of an idealistic fame of eternal validation.
Necromantic Lover — her inaugural piece — portrays love as an act of giving until nothing remains, a devotion so consuming it demands life itself.
All I Want Is Vulgarity is overstimulation, power, and excessive pleasure in full spiral to a hollow cacophony, exposing the futility of insatiable desire. These works experience perception in a _consumer's existence_—a cycle of craving, consumption, and emptiness perpetuated by systems designed to profit from esurient appetites, exploiting the finite sense of wholeness in the self. The intersectionality of fulfillment is extortion. Transformation and surrender emerge as recurring motifs in her work, explored both as acts of personal resilience though liminality and as societal rituals of sacrifice. The pieces lay bare the cost of conforming to—or resisting—societal ideals, questioning what is gained and lost in the pursuit of acceptance, success, or intimacy.
Her practice based heavily through video and sound engineering applies elements of lyricism, syncopated audio, performance, generative AI, and VFX compositions with exhibitions as projection installations and on-screen displays.
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