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)

Andries P., Terreny Adobat, Fotografia de Flandes, Barcelona 1997
Blend, actuele Fotografie in Belgie, Obscuur, 2002
Borzello F., Seeing ourselves, women's self-portraits, London, 1998
Catalogus Ik of een ander, zelfportretten van Belgische kunstenaars, Brussel 2003.
De Backer L. en De Cauter L., Tableau vivant, Nature morte (& vice versa), Antwerpen, 1994
De Cauter L., Schouwstukken van Nadine Tasseel, Etcetera, nr. 61, Gent 1997.
De Vylder P., De Teller en de Noemer, Deconstructieve Beeldstrategieën, Antwerpen, 1992.
de Zegher M. C., ed., Inside the Visible : an elleptical traverse of twentieth-century art, Cambridge, Mas. and London, 1996
Eelbode E. en P. Mertens, Fragments of a photography behind closed doors, Antwerpen 1999.
FotoMuseum Provincie Antwerpen, Belgische Fotografen, Ludion 2005.
FotoMuseum Provincie Antwerpen, Het archief van de verbeelding, Mercatorfonds 2002
Ruys Chr., Over het klassieke , in : Obscuur , nr. 13, 1999.
Swinnen Johan, De lichte kamer, de onverborgen fotografie. Garant 2005
Van den Bussche W., Between Earth and Heaven, Oostende 2001