2016, Printed parchment paper, linen thread, wax and screenprints on newsprint
As I continue to find ways to defy the boundary’s form I choose my material carefully so as to uphold my departure from the wall and work within three-dimensional space. I find this transition from the prints on the walls and then into the surrounding space in which the relationship of discrepant figures is critical as they converge in their contorted forms alluding to the clutter of the ghetto.
The printed images on the walls are located within Terezin and primarily derive from the images that were used as propaganda during the Red Cross inspection of 1944 as I have previously mentioned. The figures, made of parchment paper that has been imprinted with the same prints that are located on the walls, are bound with blue and golden yellow threads, alluding to the confinement of space within the ghetto and to the deformation of the body.
The figures converge in ways so that the discrepancy of their bound and deformed anatomy realizes new geometry and simultaneously as their shadows are cast onto the walls. The figures are no longer identical in their anatomy as they occupy the ghetto, but it is the very discrepancy of the deformed figures as they converge within this clutter that catalyze this space. A sensibility of beauty is again found alternatively to the otherwise deceptively beautified ghetto during the Red Cross inspection.