A Holocaust Memorial
barbed wire, charred wood
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.
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.
The encircling barbed wire symbolizes the capture of Jewish
communities and the effort to break their spirit, leaving little hope for
The charred wood represents the fire of the ovens in the concentration
The face is divided in half, to
depict the turmoil of the time.
In 2003, the owners*
of Silent Horror donated the sculpture to
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.
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 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
Man in My Life
in My Life
Man in My Life (left) began in 1983 with
Growth and Development
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
Nannette dismantled the failed
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.
standing on a tabletop to work on head. Growth and Development,
in progress, 1983