Tina Frantzen paints intuitively, using a process of revealing in which figures appear. The details of these figures are unknown to her before she starts, so that with each work there is a path of discovery as the painting proceeds. In this new body of work, Frantzen introduces additional layers of meaning both literally and figuratively. Eroica, in part is named after Beethoven's 3rd symphony. Frantzen, a pianist and singer herself, employs light and music while painting. The choice at the time influences the end result, with different brush marks and colour choices communicating a mood, or movement and rhythm.
The ground swirls with colour as well as collaged elements of old music manuscripts, some dating back to 1872. Undoubtedly Eroica will be present somewhere. Serendipitously at the time of composing Eroica, Beethoven was embarking on a new trajectory. It caused a sensation at the time, changing the idea of what a symphony could be.