Jiří Sozanský’s meeting with Terezín was crucial. The oppressive atmosphere of the notorious Small Frotress, until this day a memento of violence, arbitrariness and slavery, corresponded with his mood and road in art in the early days after graduation from the Prague Arts Academy. His expressive sculptural studies that led to such monumental sculptures as Silent Lamentation or Memento had in this setting a much stronger effect than originally intended. The desperate atmosphere of prison courtyards and cells stimulated Sozanský to create several environments. After his first Terezín exhibition in 1976 Sozanský repeatedly returned to the place, occasionally with chosen friends, to explore how to present his life-long motif - people in extreme situations. He used not only diverse fragments of plaster, matting and wire-netting, his installations often included large drawings, series of monumental paintings and/or staged performances. In the wide range of motifs we find works inspired by the surrounding countryside, especially the contrast of the strictly geometrical architecture of the fortress and the undulating landscape of Central Bohemia. This comprehensive approach to motifs and environments, with its only faintly veiled topical protest against all forms of violence, culminated with a sizable monument installed in the solemn space of the camp crematorium in Litoměřice.