The work explores some of the ways artistic effort is used to fabricate false narratives as part of warmongering and ongoing war. Moving image elements trace historical roots when the term yellow journalism was coined that described William Randolph Hearst’s poaching of a cartoonist from a rival New York newspaper and his announcement: “You furnish the pictures, I’ll provide the war!” Excerpts from the biopic of Hearst by Orson Welles are intercut with his paper’s cartoonist, alongside activity of Israeli artists visiting New York for the 9/11 events. Katoomba-based artist Matt Downey and his son Milo perform for this.

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In contrast to the stories circulating widely as yellow journalism or fake news as part of the Palestinian genocide, some of Australia’s complicity in the ongoing horror is depicted in stitching added to a section of the Bayeux tapestry, the first English genocide. A wall of ammunition boxes create two spaces that house Australian scenarios. One points to our ever-increasing environmental degradation in relation to a ramped-up nuclear sector to fuel the war machine. The other includes a ghillie suit shag carpet and a leafless beach-umbrella Christmas tree adorned with American-style popcorn garlands.

A wreckage of metal coat-hangers float in the front section like the image we now hold of a Palestinian sky about the size of Western Sydney — populated with planes, bombs and rockets that has continuously for 2 years, 4 weeks and 2 days resulted in nearly 70 thousand people now dead. Displaced and out-of-reach chocolates in the configuration illustrate the Israeli policy stretching back many decades that bans chocolate from Gaza.