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Silent Horror
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A Holocaust Memorial
welded brass,
barbed wire, charred wood
1994
28"x17"x17"
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Silent Horror memorializes the families killed during the Nazi
Holocaust, during WWII. The theme and media create a haunting image and
signify the torment and hopelessness of the time. Six
million Jews were killed during the Holocaust.
Metal:
The face consists of many small brass pieces, welded together to
personify the unity of a people; the whole is the sum of its parts. The
sinister jagged edges and dark seams echo life during the Holocaust. They
contrast with the brighter areas of metal which illustrate life after this
catastrophic period. The metal face is sandwiched between
wire and wood; the tools of destruction. Wire:
The encircling barbed wire symbolizes the capture of Jewish
communities and the effort to break their spirit, leaving little hope for
escape.
Wood:
The charred wood represents the fire of the ovens in the concentration
camps.
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In 2003, the owners*
of Silent Horror donated the sculpture to
Beth Tfiloh
Congregation, for its permanent collection,
in Pikesville, MD.
* Mr. & Mrs. Leonard Attman
Mr. & Mrs. Jack Pechter
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The face is divided in half, to
depict the turmoil of the time.
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The Left Side:
the eye is covered with a ball of twisted
barbed wire, to block out the unbelievable horror. The cheek recedes
backward and the left nostril curls under, submissively.
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The Mouth
opens to scream, but
there is no sound. The silence is accentuated by the blackness of the
mouth's cavity and feeling of hopelessness. |
The Right
Side:
the eye is encircled by barbed wire but
is left open, to allow ALL to be seen and never forgotten. The cheek jets
forward while the right nostril flares wide, in defiance
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Man
in My Life
welded brass
1989, 65"x34"x20"
Man in My Life (left) began in 1983 with
Growth and Development
(right),
a piece Nannette worked on
for 15 months and watched as it grew 7 feet
tall and weighed over 100 pounds. At the time, its title,
Growth and Development, was appropriate, as it
taught her that quantity does not necessarily equal
quality.
In 1987,
Nannette dismantled the failed
sculpture, and
by 1989 was ready to recycle the brass to start
anew. When Man in My
Life was finished, she learned another lesson
that she continues to use in her art and daily life, sometimes
grand ideas need to be scaled back. |
Nannette
standing on a tabletop to work on head. Growth and Development,
in progress, 1983
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Best
Foot Forward,
1984, 18"x12"x8" Part of the
horse-bird series
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I Saw, but Could
Not Speak,
1991,
34"x25"x12"
Recycled head from
Growth and Development
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