Auschwitz – if anything can save humanity it is memory

Auschwitz - if anything can save humaity it is memory

Auschwitz – if anything can save humanity it is memory

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The title of this work, a quote from Eli Wiesel, conveys the essence of Abigail’s Holocaust series paintings. The picture plane is horizontally divided by the familiar shape of the entrance building to the Auschwitz death camp, flanked on either side by the perimeter fencing. The upper spiritual realm above is painted in shades of blue. Two spirit figures rise into the sky, past tears that form whirls of particles and drip from the universe, which weeps over the catastrophe. They ascend towards a circle in which cupped hands cradle the letters “Ein Sof” (“The Endless One”). A fiery seraph, a messenger of G-d, hurries towards it while two lovers enshrined in a mandala hold a red rose.

The lower earthly realm, rendered in brown and yellow hues, focuses on the entrance to Auschwitz with its cynical inscription “Arbeit macht Frei” (work liberates). In the left foreground a young mother in a long garment with ornamental design is embracing her infant. They are both transfixed by the scene. The artist, the alter ego of the mother, is seated at her easel with her face turned around to make direct eye-contact with the viewer. She is painting a Star of David on a yellow background representative of the Yellow Star, which contains two yellow circles. In this painting the artist has placed familiar visible images of Auschwitz within a setting of powerful spiritual forces that overshadow and dominate it, emphasising the superior presence of G-d. The artist is faithfully recording the scene for posterity and is inviting the viewer to witness and never forget the apocalyptic event that was Auschwitz.

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Artwork Option

A4 Print (approx 21 x 30 cm), A3 Print (approx 30 x 42 cm), A2 Print (approx 42 x 60 cm), A1 Print (approx 60 x 84 cm)

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The title of this work, a quote from Eli Wiesel, conveys the essence of Abigail’s Holocaust series paintings. The picture plane is horizontally divided by the familiar shape of the entrance building to the Auschwitz death camp, flanked on either side by the perimeter fencing. The upper spiritual realm above is painted in shades of blue. Two spirit figures rise into the sky, past tears that form whirls of particles and drip from the universe, which weeps over the catastrophe. They ascend towards a circle in which cupped hands cradle the letters “Ein Sof” (“The Endless One”). A fiery seraph, a messenger of G-d, hurries towards it while two lovers enshrined in a mandala hold a red rose.

The lower earthly realm, rendered in brown and yellow hues, focuses on the entrance to Auschwitz with its cynical inscription “Arbeit macht Frei” (work liberates). In the left foreground a young mother in a long garment with ornamental design is embracing her infant. They are both transfixed by the scene. The artist, the alter ego of the mother, is seated at her easel with her face turned around to make direct eye-contact with the viewer. She is painting a Star of David on a yellow background representative of the Yellow Star, which contains two yellow circles. In this painting the artist has placed familiar visible images of Auschwitz within a setting of powerful spiritual forces that overshadow and dominate it, emphasising the superior presence of G-d. The artist is faithfully recording the scene for posterity and is inviting the viewer to witness and never forget the apocalyptic event that was Auschwitz.

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