Tramaine de Senna’s ever-evolving body of work bears witness to the artist’s intense relationship with materials and interests in issues such as the “migration of forms,” pop and material culture, internalized violence, exuberance, and the enduring ambiguous presence - “ghosts” - of histories. De Senna’s calling acts as a pendulum swinging between European theory (R. Barthes, B. Groys, J. Verwoert) and the slight, dispersive fragmentation of Americana (James Baldwin, ethnic minorities, Native Americans, exotica for armchair safari-ers, WWII, Brutalist and Streamline Modernism architecture, frontier idioms, and the creativity of “passing” to avoid stigma). She makes a visual and conceptual link, for example, between the physical manifestation of internalized violence and the formalism of certain hybrid plastic injection molded toys, equating both to the grotesque and gothic (deformed bodies indicative of tortured souls: Hiroshima and Nagasaki A-bomb victims' charred skin and radioactivity to Godzilla's flame throwing and supernatural physicality). In this sense, her forms are analytical and emotive - an exercise in social dissection that inhabits a haunting formalism, heightened by tactility, bouts of scale, and a visceral use of texture and color.
“[There is an] absurd dimension [within the] objects [of] Tramaine’s work [...] I’ve become concerned with their idea and function as fetishes. This concern comes from the impression these objects are giving me, of how much charged they are; charged with a parallel existence - their parallel existence. We tend to give to fetishes only the dimension that is connected to sexuality, though besides this dimension, comes the religious one, and also what Marx described of the commercial object becoming a fetish in capitalism. Whatever the aspect may be, fetishes are objects that have become charged and connected to something and through that they give a highly absurd feeling. The same takes place to Tramaine’s objects, as they become so much charged by the connotations and the parallelisms they bear, that at the end they become stripped from everything else - even themselves. They become pure existences of the charge, in the form of appearances, facades, and fetishes.” -- Giorgos Kontis