Hidden Histories
Hidden Histories

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

Hidden Histories I
Hidden Histories I

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

Hidden Histories I (detail)
Hidden Histories I (detail)

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance
An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance

screen printed and fused sheet glass, Arches Cover, davey board, 7" X 5", 2017

The pages of this book are fused together, making it nearly impossible to read the story. However, It is possible to see the different pages through the layered sheets of glass. This book presents the idea of the difficulties of emotionally accessing history.

An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance
An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance

screen printed and fused sheet glass, Arches Cover, davey board, 7" X 5", 2017

The pages of this book are fused together, making it nearly impossible to read the story. However, It is possible to see the different pages through the layered sheets of glass. This book presents the idea of the difficulties of emotionally accessing history.

An Absence That Suggests a Significant Presence
An Absence That Suggests a Significant Presence

laser etched Stonehenge paper, duck canvas, davey board, 11" X 17", 2017

In Holocaust writing and memory, absence and presence are recurring themes, as are speech and silence. These seemingly contradictory attributes will circle around each other presenting different methods for trying to understand, remember, and lament.

An Absence That Suggests a Significant Presence
An Absence That Suggests a Significant Presence

laser etched Stonehenge paper, duck canvas, davey board, 11" X 17", 2017

In Holocaust writing and memory, absence and presence are recurring themes, as are speech and silence. These seemingly contradictory attributes will circle around each other presenting different methods for trying to understand, remember, and lament.

An Excerpt From A Year in Treblinka in Sand
An Excerpt From A Year in Treblinka in Sand



black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

An Excerpt From A Year in Treblinka in Sand
An Excerpt From A Year in Treblinka in Sand


black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

An Excerpt From A Year in Treblinka in Sand

black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

Revelations and Consolations
Revelations and Consolations

blown and sheet glass, stone granules, 10" X 6", 2017

An excerpt from the narrative of Holocaust survivor, Jankiel Wiernik, "A Year in Treblinka" juxtaposed with testimony from the Nuremberg Trials. While one narrative is revealed, the other becomes concealed.

Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)
Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)

glass, paper, ink, wax, wood, cork, 40" X 15", 2017

The United Nations Declaration of Human Rights was made in direct response to the atrocities of WWII and should operate as a living document, providing countries with a clear vision of liberties. Instead, in many places the contents of this document are regularly violated. In this piece, each article is preserved as though a relic from the past, instead of acting as a piece of relevant and contemporary legislation.

Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)
Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)

glass, paper, ink, wax, wood, cork, 40" X 15", 2017

The United Nations Declaration of Human Rights was made in direct response to the atrocities of WWII and should operate as a living document, providing countries with a clear vision of liberties. Instead, in many places the contents of this document are regularly violated. In this piece, each article is preserved as though a relic from the past, instead of acting as a piece of relevant and contemporary legislation.

Juif | Juden | Jew
Juif | Juden | Jew

Neon, 36" X 30", 2017

Juif means Jewish in French. It is written that during WWII all of the Jews living in Paris voluntarily signed Jewish registries and had Juif stamped on their ID cards. This enabled the Germans to lawfully select Jews for transportation to concentration camps and execution. This piece illustrates the strong notion that many Parisians had that their national identity came before their religious identity.

Hidden Histories
Hidden Histories I
Hidden Histories I (detail)
An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance
An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance
An Absence That Suggests a Significant Presence
An Absence That Suggests a Significant Presence
An Excerpt From A Year in Treblinka in Sand
An Excerpt From A Year in Treblinka in Sand
Revelations and Consolations
Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)
Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)
Juif | Juden | Jew
Hidden Histories

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

Hidden Histories I

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

Hidden Histories I (detail)

sheet glass, wood, steel, 54" x 20" x 8", 2017

A portion of A Year in Treblinka can be read from one side and a portion of testimony from the Nuremberg Trials can be read from the other. They quickly become visual noise as the layers obfuscate each other referencing the layered and complicated nature of historical recollection.

An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance

screen printed and fused sheet glass, Arches Cover, davey board, 7" X 5", 2017

The pages of this book are fused together, making it nearly impossible to read the story. However, It is possible to see the different pages through the layered sheets of glass. This book presents the idea of the difficulties of emotionally accessing history.

An Excerpt From A Year in Treblinka | The Impossibility of Historical Resonance

screen printed and fused sheet glass, Arches Cover, davey board, 7" X 5", 2017

The pages of this book are fused together, making it nearly impossible to read the story. However, It is possible to see the different pages through the layered sheets of glass. This book presents the idea of the difficulties of emotionally accessing history.

An Absence That Suggests a Significant Presence

laser etched Stonehenge paper, duck canvas, davey board, 11" X 17", 2017

In Holocaust writing and memory, absence and presence are recurring themes, as are speech and silence. These seemingly contradictory attributes will circle around each other presenting different methods for trying to understand, remember, and lament.

An Absence That Suggests a Significant Presence

laser etched Stonehenge paper, duck canvas, davey board, 11" X 17", 2017

In Holocaust writing and memory, absence and presence are recurring themes, as are speech and silence. These seemingly contradictory attributes will circle around each other presenting different methods for trying to understand, remember, and lament.

An Excerpt From A Year in Treblinka in Sand



black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

An Excerpt From A Year in Treblinka in Sand


black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

An Excerpt From A Year in Treblinka in Sand

black sand, 40" x 40", 2017

Narration, ritual, and object are each mechanisms for the transmission of memory. As time passes, these stories and carriers of meaning become shadowed with the recollections of others and become imbued with added social, familial, political, and moral values not originally present. Every time a story is retold it takes on a new life, simultaneously preventing that information from being lost to history while slowly transforming into something new altogether. These mechanisms for transmission slowly shape collective memory across time and ultimately have a huge hand in shaping personal identity. These works reflect on the shifting nature of narrative across time and consider the intersection of art, ethics, and atrocity.

Revelations and Consolations

blown and sheet glass, stone granules, 10" X 6", 2017

An excerpt from the narrative of Holocaust survivor, Jankiel Wiernik, "A Year in Treblinka" juxtaposed with testimony from the Nuremberg Trials. While one narrative is revealed, the other becomes concealed.

Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)

glass, paper, ink, wax, wood, cork, 40" X 15", 2017

The United Nations Declaration of Human Rights was made in direct response to the atrocities of WWII and should operate as a living document, providing countries with a clear vision of liberties. Instead, in many places the contents of this document are regularly violated. In this piece, each article is preserved as though a relic from the past, instead of acting as a piece of relevant and contemporary legislation.

Contemporary Artifact: United Nations Declaration of Human Rights (preserved for posterity)

glass, paper, ink, wax, wood, cork, 40" X 15", 2017

The United Nations Declaration of Human Rights was made in direct response to the atrocities of WWII and should operate as a living document, providing countries with a clear vision of liberties. Instead, in many places the contents of this document are regularly violated. In this piece, each article is preserved as though a relic from the past, instead of acting as a piece of relevant and contemporary legislation.

Juif | Juden | Jew

Neon, 36" X 30", 2017

Juif means Jewish in French. It is written that during WWII all of the Jews living in Paris voluntarily signed Jewish registries and had Juif stamped on their ID cards. This enabled the Germans to lawfully select Jews for transportation to concentration camps and execution. This piece illustrates the strong notion that many Parisians had that their national identity came before their religious identity.

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