This body of work has a biographical as well as an existential element, both cathartic in nature. Through its making I discovered links between being an artist, a clinical psychologist and a second-generation Holocaust survivor. Ostensibly, the stimulus for this body of work was the conflict between the Israelis and the Palestinians. However, in the course of creating the works, deep-seated personal issues surfaced, culminating in the insight that my subconscious drive is to aestheticise the deadly. The intention is to make this world a better place verbally in my therapeutic work, and visually through my art making style. This has become my legacy.
A concept and an internal, original preliminary mental image dictate the medium for my works. Ambiguity of meaning, reversibility of truths, ambivalence and polarities as well as a play of revelation and concealment are central to it. In this body of work, I call for self-awareness and vigilance regarding the viewer’s own political positions and constructions of self.
In order to highlight the paradox of using war to achieve peace I combined children’s toys, which stand for safety, innocence and fun, with adult weapons, which symbolize aggression, deviance and cruelty.
A sense of unease is incurred by the differences between the form and the content, as well as the incongruence between the glossy aesthetic and the unpleasant inside of the works.
It is possible to view international relations as an extension of psychological games played in the context of inter-personal relationships (Berne 1964:44). War games fall into the category of toxic third-degree games, which are played to a bitter end. Death could be the payoff, bringing recognition.
Children’s toys are familiar social system of signification. In Weapons of Mass Destruction they are substituted for weapons of war and become a metaphor for ‘games that people play’.