Milada Hönigová, personal No. Dm 4772 and her mother Zdeňka Hönigová, personal No. Dm 4771, perished in Auschwitz concentration camp in 1943, September 6, after their deportation from Terezin, Czechoslovakia. I was recently told in a letter from Vladimír Růžička, who still lives in Nové Město, where he and my grandpa Mitch grew up, that Mitch’s sister Milada and her mother Zdeňka were separated from each other in the selection on the ramp after their arrival to Auschwitz on December 6. Milada, a child of 12, was sent to the line of prisoners who were to be gassed in Bunker 2 at Auschwitz ll—Birkenau and her mother was sent to the line of prisoners who were selected for labor. However, Zdeňka Hönigová decided to perish with her daughter and she was able to join Milada in the line that lead to Bunker 2.

My experience in Theresienstadt, Terezin transit camp inspired me to continue an exploration of both the visible and invisible architectonic boundaries that define human existence. I continue to transpose this form as it in turn continues to perpetuate demarcation and defines both the historic and current human experience as it is revealed to us in many forms.

The stories I discover within city spaces inspire a continuous process in which I explore new relationships between people and the spaces that they occupy. When I create installations and prints, I wonder, how does the geometry of these cities impact their people and how do they inspire the form of their cities’ architectonic boundaries?

I use reproducible media as well as threads, twine, rope and paper to recreate city spaces as prints and as installations. The material I use is drawn from the two-dimensional walls and activates the three-dimensional spaces that defy the wall in its evocation of demarcation. As I recompose, reconstruct, and activate spaces, the structures that contain these stories discover new geometry as I redefine their form.

I draw from different spaces to discover new geometry, such as the spaces in between the alleyway of Vicolo Degli Orefici, from the intersections of transit lines that transpose the city-scape of NYC, from the dissonance and concordance of motion as I twist and draw apart paper structures, or from the intersection of pieces of star. As I defy concepts of demarcation, of deformation, and of dissolution, I transpose the boundary to accentuate the new geometry found in the intersection of lines.