Tasseel's magical and disturbing work loads a modern medium, photography, with references to an old-fashioned medium, painting. About to take the mask of fifteenth-century beauty from her face, she suggests the links of time and fashion with beauty. She typifies the way contemporary woman artists are making art that refers to a specifically art history and the roles woman within the images of the past.
(Frances Borzello in Women's self-portraits, Thames and Hudson, 1998)

Her crucial programme: the dialogue with the scenic (space mediates, time is being manipulated), the iconographic code (as password, the 'classic' as problematic concept), the seemingly improvised passage (as a semiotic process), the sculptural (as relieving, specific condition) and the ascesis (as alibi, the main element of motion).
(Christoph Ruys)