Rooted in her upbringing in Miami—a city shaped by hyper-sexual commercialization and a socially censored pornographic industry—Tanna's art reflects a deep awareness of the commodification of necessity. Women in her work oscillate between roles of wife, entertainer, and muse, as well as martyr, masochist, and suggested enabler. These figures exist in a liminal space as performing identities constructed by societal expectations— all bearing the emotional and physical costs of those performances. 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. The piece Necromantic Lover portrays love as an act of giving until nothing remains, a devotion so consuming it demands life itself. In All I Want Is Vulgarity, overstimulation, power, and excessive pleasure spiral into a hollow cacophony, exposing the futility of insatiable desire. These works experience perspection 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. Transformation and surrender emerge as recurring motifs in her work, explored both as acts of personal resilience 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.
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Her practice based in video and sound engineering uses elements of lyricism, syncopated audio, performance, and VFX compositions with exhibitions as projection installations and on-screen displays.