This two mirror drawings represents the outline of the Jewish ghetto in Otwock, the city where Miroslaw Balka was born and resided. These rigide outlines are covered with myth which is applied on the skin and forms a healing process.
Balka uses height, gravity, distance, and continuous space in order to approach the necessity of understanding remembrance and memory itself. He brings the viewer in to a position of experience and absorption and as less of an observer and more of a witness. Realizing the importance behind sculptures relative to monuments and memorials, embracing fear and crossing thresholds, approaching an infinite search; whether it is to escape, or find the missing pieces/letters in order to reach an understanding. Balka creates a space where it is pertinent to acknowledge what it means to remember.