Faux Diamonds, 2024
In the GDR, freedom was a rare luxury, with the state trading political liberty for social security and order. Compliance ensured a decent life, while resistance brought harsh punishment. The system's predictable rules made life manageable but deeply repressive.
The dismantling of the familiar order and security of the GDR in 1990 left people navigating a new, uncertain reality. Today, we witness a significant shift in political allegiances among East Germans. Many who grew up under authoritarian rule now express scepticism towards democratic practices, gravitating towards extreme left- or right-wing parties that pursue authoritarian state models promising a return to control. These parties appeal to those longing for clear hierarchies and traditional values, offering stability and a restoration of pride. This shift also reflects a growing disdain for immigrants, minorities, and dissenters—echoes of exclusionary ideologies.
After reunification, East Germans expected their lives to quickly become as prosperous as those in the West. They viewed the West as a flawless society with no drawbacks and believed that freedom and democracy would be straightforward, with the state continuing to provide paternal care. However, when reality didn’t match their idealised expectations, disappointment set in. The challenge of adapting to freedom, making independent decisions, and taking responsibility proved difficult for many, leading to resentment.
For this display, I have created resin pieces, each encapsulating black-and-white negatives of my students from the summer of 1989. Photographs of these pieces form the basis of my work titled “Pavlov’s Children”.
Each resin block is enclosed in wire cages fashioned from champagne bottle tops and meticulously arranged in a clear acrylic tabletop display cabinet with a white base. The resin pieces are aligned in rows, resembling soldiers on parade. Spotlights cast intersecting shadows on the cabinet floor, enhancing the interplay of light and shadow. Viewed from above, the resin pieces appear like precious gemstones trapped within their cages, but upon closer inspection, these 'gemstones' reveal themselves as trapped negatives. The number of pieces can vary depending on the size of the display cabinet, with up to 400 pieces available for production."
This arrangement evokes a sense of order and rigidity, while the mirror tiles create a feeling of endless confinement. The display aims to evoke the atmosphere of an organised, ceremonial event, while also conveying deeper themes of confinement and inevitability. Simultaneously, it celebrates the liberation that began in 1989. The cages also reference the 'champagne socialists' in the UK, who romanticise the 'Socialist Experiment' and view life under dictatorships through an idyllic, detached lens.
Titled “Faux Diamonds”, this project explores the false promises of the GDR, the disillusionment with the West, and the idealisation of a past marred by oppression. As political shifts today echo the past, this work serves as a reminder that history can repeat itself if we are not vigilant.
The dismantling of the familiar order and security of the GDR in 1990 left people navigating a new, uncertain reality. Today, we witness a significant shift in political allegiances among East Germans. Many who grew up under authoritarian rule now express scepticism towards democratic practices, gravitating towards extreme left- or right-wing parties that pursue authoritarian state models promising a return to control. These parties appeal to those longing for clear hierarchies and traditional values, offering stability and a restoration of pride. This shift also reflects a growing disdain for immigrants, minorities, and dissenters—echoes of exclusionary ideologies.
After reunification, East Germans expected their lives to quickly become as prosperous as those in the West. They viewed the West as a flawless society with no drawbacks and believed that freedom and democracy would be straightforward, with the state continuing to provide paternal care. However, when reality didn’t match their idealised expectations, disappointment set in. The challenge of adapting to freedom, making independent decisions, and taking responsibility proved difficult for many, leading to resentment.
For this display, I have created resin pieces, each encapsulating black-and-white negatives of my students from the summer of 1989. Photographs of these pieces form the basis of my work titled “Pavlov’s Children”.
Each resin block is enclosed in wire cages fashioned from champagne bottle tops and meticulously arranged in a clear acrylic tabletop display cabinet with a white base. The resin pieces are aligned in rows, resembling soldiers on parade. Spotlights cast intersecting shadows on the cabinet floor, enhancing the interplay of light and shadow. Viewed from above, the resin pieces appear like precious gemstones trapped within their cages, but upon closer inspection, these 'gemstones' reveal themselves as trapped negatives. The number of pieces can vary depending on the size of the display cabinet, with up to 400 pieces available for production."
This arrangement evokes a sense of order and rigidity, while the mirror tiles create a feeling of endless confinement. The display aims to evoke the atmosphere of an organised, ceremonial event, while also conveying deeper themes of confinement and inevitability. Simultaneously, it celebrates the liberation that began in 1989. The cages also reference the 'champagne socialists' in the UK, who romanticise the 'Socialist Experiment' and view life under dictatorships through an idyllic, detached lens.
Titled “Faux Diamonds”, this project explores the false promises of the GDR, the disillusionment with the West, and the idealisation of a past marred by oppression. As political shifts today echo the past, this work serves as a reminder that history can repeat itself if we are not vigilant.
