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Welded Brass

 
 

            Best Foot Forward

 

   Silent Horror - A Holocaust Memorial



    welded brass, barbed wire, charred wood
  1994    28"x17"x17"


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.
      _____________________________

The face is divided in half, to depict the turmoil of the time.


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
 

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.

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 

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




Best Foot Forward,  1984, 18"x12"x8"


Part of the
horse-bird series


 I Saw, but Could Not Speak, 1991, 34"x25"x12"
Recycled head from Growth and Development

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