A crime has been committed. The evidence is clear: liberal democracy is retreating, and truth itself is under attack. This is not a natural decline but a political project connecting economic power and political authority. The result is the rise of the post-truth era. The installation stages this condition as a crime scene. A fragile, deconstructed world arranged as a landscape of clues unfolds through ceramic objects. Human figures are absent, yet their presence is felt through what they leave behind: clothes, suitcases, and chairs orchestrated as life's residues and moments fossilized in clay. The open city structure is suspended on metal rods at varying heights. The negative spaces between the elements allow it to be viewed from all sides. Apart from the supporting rods, all visible elements are made from clay. The installation explores relations of power through shifts in scale. The miniature elements entice close looking, so by placing the viewer at an elevated vantage point, an illusion of control is created, only to reveal the opposite. Visitors move around the work, invited to piece together a narrative, confronting our uncertainty and alarming contemporary reality. By positioning ceramic practice within a broader contemporary art discourse, and bringing together installation strategies with drawing-based ceramic methods, this project offers a way to engage with global conflicts through the language of craft.
