About

Deported at ten years old to the first of three different concentration camps, Ceija Stojka began her testimonial only forty years later, first with her writing, then by painting, which she taught herself. Her work is all the more significant because it occurs in the context of belated recognition of Samudaripan, the Romani Holocaust, within a community that voluntarily scotomizes death . This creative and retrospective act raises the question of a “latency gap” that must be filled before visual expression. Painting is done “after the fact”, in the Freudian sense of the term, in which a
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