In the first stage of my project, I focused on creating works inspired by vintage postcards. Specifically, I created a series of fake postcards depicting empty plinths and pedestals. This idea was sparked by my discovery of a collection of old documents held by the New York Public Library, which represented monuments from various locations around the world, including North America, Germany, France, and Greece. However, these postcards shared a common motif: they all depicted monuments that glorified famous male heroes. As I examined these postcards, I began to consider the idea of completely erasing certain items from our databases, archives, libraries, picture collections, and the internet, leaving no trace that they ever existed.If we could erase them so utterly that no discernible trace would remain that the item had ever even existed?

 

We often think about censorship as something that is violent, visible, and disruptive. However, today it is possible to erase data ‘invisibly’. In these new fake-postcards, every element appears to function logically. Only after a moment, we realize that something is not as it should be.  This cycle is a visual reflection of the question... what is censorship in today's digital world? What is the function of monuments in constructing collective identity?

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/ˈped.ə.stəl/

(Fr. piedestal, Ital. piedestallo, foot of a stall), a term generally applied to a support, square, octagonal or circular on plan, provided to carry a statue or a vase. Although in Syria, Asia Minor and Tunisia the Romans occasionally raised the columns of their temples or propylaea on square pedestals, in Rome itself they were employed only to give greater importance to isolated columns, such as those of Trajan and Antoninus, or as a podium to the columns employed decoratively in the Roman triumphal arches.The architects of the Italian revival, however, conceived the idea that no order was complete without a pedestal, and as the orders were by them employed to divide up and decorate a building in several storeys, the cornice of the pedestal was carried through and formed the sills of their windows, or, in open arcades, round a court, the balustrade of the arcade.