The Model Camp. Experiments. Hell. Death. Dachau.

She visited and was transformed by the experience. She was compelled to express how she felt about the horror, the madness. To exorcise the evils through her art to get to the other side. Compelled to document what she saw because what she saw was real, and to disallow us any denial of the harrowing reality. These paintings are about universal suffering. And survival. And endurance. And death. They are about mothers and their children, young people, old people, all people.

She is an assiduous researcher. Her written text is copied precisely from historical texts, posters, and letters. The figures are real--real images from authentic archival photographs. She is interpreting them, altering them. The numbers are documented deaths from Nazi files. Kriemelman is painting from a driving desire to document that which revisionist historians choose to believe never happened. With this work, she is journeying through the undeniable, immeasurable, unsettling realm of human iniquity to once again remind those too young to even imagine it ever could.

And so, she paints The Beast. The Nazi. The embodiment of malevolence. The layers unfold. Son of God. She paints a beautiful young man. A medical experiment. A Christ figure hangs suspended, bearing innocence and death at the hand of The Beast. Pieta. A boy and his mother. Another woman's son becomes the artist's own as she expresses the ultimate grief, the brutal loss of her child. The birth, life, and death. They are all real and riveting. The Final Solution. They are waiting in quiet resignation. The skillfully articulated figures speak through their eyes, their hands, and postures. We feel their humanness, the powerlessness. We see men who will become numbers as they join the wasted. She demands that we acknowledge them, look deeply into their souls, and know that they were here. The artist cries out simultaneously with her subjects. Kriemelman says emphatically, "This is real. I am real. Look at me. Don't tell me I went through this for nothing." She leaves her mark.