Douglas Mercer
November 23 2023
To call them survivors strains both credulity and plausibility to the breaking point but they love the word “survivors” do they not? Because if one is a survivor it means (perforce) that one has both undergone and “survived” a most grueling and possibly hellish experience. And what (pray tell) could be more grueling and definitely hellish than to be thrown willy-nilly into Adolf Hitler’s meat grinder and stumble out numbed and nearly dead, weighing forty pounds, wearing tattered and soiled pajamas, having lost your gold fillings to a savage, over eager, and preemptive SS man? It’s their most spellbinding spiel and they’ve ridden this horse for decades in order to garner sympathy and enact White Genocide. And the central figure from the always Jewish central casting is always the survivor; they have them in holograms in Florida where they can while away for eternity pointing their bony fingers at the White man saying: for shame! And when he was just an un-bonnie Prince now King Charles commissioned seven artists to paint said so called survivors and then trotted out the bags of bone themselves for a big soiree and fete where they could mug by their representational mugs. But now they got this all beat and they have plucked out the sculptress of the stars and had her cast in materials the un-noble heads of the Jews. The Jew survivors that is. Who else would it be? It is sufficient to say that she’s no Arno Breker and these figures are no imposing, fearsome, scowling and maddened berserkers, not at all. They are Jews. Which is really the most pathetic thing there is.
“When sculptor Frances Segelman was approached to sculpt Auschwitz survivor Arek Hersh MBE, she found the idea harrowing and tried to avoid doing it. Having spent the previous 25 years sculpting celebrities and royalty including the late Queen, the Prince of Wales, Dame Joan Collins, Boris Johnson to name a few, this commission was far out of her comfort zone and she quite simply wasn’t sure she could handle it. In the end, she agreed to the commission from Makor, the Jewish Culture Office for Leeds, and returned to her native Leeds to perform a live sculpting session in front of an audience of 200 people. That was six years ago, a life-changing experience. Since then she’s been sculpting the images of as many survivors as possible, in partnership with Yad Vashem UK. Many of her sitters are in their nineties, with a zest for life that defies belief given the brutality of what they experienced in their early years.”
What a task, eh? Compared to that Sisyphus’s was a cakewalk. It’s a task of world historical proportions and apparently tackling the busts of cosmopolitan scum, the vicious anti-White ruling class, and wizened members of the international jet set did not prepare her in her mind for this tall timber. She goes by the name of Lady Petchey because at the ripe old age of seventy plus this skeleton chose to marry a ninety plus year old codger and coot thereby elevating herself to the awful confines of the British peerage. And now this Yid is washing the back of the Yids in that echelon and doing them a good turn by memorializing trumped up former laborers in work camps who have spent the better part of a century screeching and screaming about our good and wise Uncle Adolf, calling him many bad names. Surely you’ve noticed that the Jews love nothing more than to dramatize themselves, to put themselves on show and display and what better way than to use that time honored vehicle of eternal memorialization: the bust. It’s just the head, the head that is displayed in its glory and by jumping up these lowly Jews to that stratosphere they try to cover them in the sheen of sacred memory though with them it’s the thinnest veneer. But of course when the Jews dramatize, they are melodramatic, overwrought, and histrionic, exaggerating and embellishing. For despite all the fanfare and hoopla that accompanied this fiasco at day’s end you are still left with what you had that morning: some Methuselahian old kikes who never did a deed that a dead man should acquire fame by. Even if they do have the order of the British Empire or some such rot. When you see who gets those these degraded days you will be forgiven for thinking that they pass them out in the bottom of cracker jack boxes along with the cheaply made and always non-functional plastic whistles.
“She is working on her 14th sculpture, Eve Kugler BEM. She had the good fortune to sculpt Sir Ben Helfgott MBE and Zigi Shipper BEM who both passed away earlier this year aged 93. The bronze of former Olympic weightlifter Sir Ben Helfgott now sits in the National Portrait Gallery as part of its permanent collection. Before each live session, she spends some time chatting to her subject, in order to get to know them, to study their expressions and personality, and to observe how they sit and hold themselves. And then she gets to work, fuelled by time, pressure and adrenaline. With a caliper, she measures their face and features. She aims to mould not just a physical likeness but what she calls the innermost spirit of the person sitting in front of her.”
Caliper—dread word! The caliper is the symbol sine qua non of the “nazi exterminationists.” Did not the cold, callous and clinical Dr. Mengele wield them on Jewish twins? Did not the Office of Race and Settlement use them to decide who had worthy German blood? Did not the bad old race scientists of America employ them as they went about doing dastardly deeds? And now the calipers have been brought out for the Jews and you are sure when she brandished them they flinched and blanched until she assured them that she was going to make heroes and heroines out of them and make is so that grade school kids a century and more from now would gaze on their sculpted image in awe. And once the amenities of measurement were duly dispensed with they got down to their mendacious business and with the endorphins coursing through her at record rate she and the sitter knew that they were in a kind of Jewish state of suspended animation. And for all time and all space they would put the face of the survivor where they are convinced it always ought to be: on a pedestal. And in a permanent collection.
“I feel like I am in a different world. I am not on this earth when I do these sittings. It’s a very emotional experience, she observes. By the end my voice has gone. I just go into a different level, a tunnel vision level. Segelman’s second subject was Hungarian-born Ivor Perl BEM, who was just 12 when he was taken to Auschwitz. His older brother Alec saved him from the jaws of death. His seven siblings and parents were murdered. The artist says the actual performance is cathartic for the sitter, as they physically see the first stage of their bust being sculpted within two hours. When I sculpted Ivor Perl, he said: Can I call you mother? I feel you have given me a new life, as it will carry on. That is what got me hooked.”
You’ve heard of runner’s high? Where the long-distance runner gets that psychotropic rush of endorphins and the feelings of otherworldly ecstasy and euphoria? Well, that is nothing besides the sculpting the hoax high, the world is reduced to just two, the painter and the faker, like ethereal lovers in a parallel world. All earthbound cares melt away as they focus on the pathos and the grief, the barbed wire, and those terrible screams from the showers and the scratches on the walls. For the survivor too the beautiful and baleful ordeal is therapeutic. So many memories long suppressed (or false memoires fabricated) come flooding and rushing in the moment. Finally, you see, is that attention being given them that they’ve long known in their secret heart they deserve. In that moment of pure connection when they can glimpse eternal fame all of the skeptic’s calumnies and the denier’s doubts fade away to nothing and in their innermost selves they feel the righteousness of the Lord overwhelm them. After all would they put the bust of a liar in a famous permanent collection in London? Would they?
“Earlier in 2023 for the Fed’s My Voice Project in partnership with Yad Vashem UK, she sculpted 99-year-old Marianne Phillips who came to England on the Kindertransport. She lost her mother before the war, and her brother and father perished in the Holocaust. Her next goal is to get the recorded clips of the survivors’ stories to be installed in the bronze itself, thereby bringing their testimonies to life. The project has had a profound impact on her relationship to Judaism. I was brought up with going to synagogue with my grandparents. When my father died when he was 53 I was so shattered by it, I lost my feeling, she explains. “Sculpting these people, seeing their belief in God and religion and seeing how amazing they are, without bitterness, makes me cry. I am very moved by it. It has changed me. I have gone back to my Jewish roots a lot more.”
Talking victims? What will they think of next? It’s not quite up to snuff with those holocaust holograms they have housed in Florida but it’s the next best thing. With these you can’t ask them questions and have the AI machine rifle through its silicon neurons for a suitable lying response. No, this is more of a soliloquy but still their voice (they think) will be imperishable and for untold generations to come both the young and old will come to pay homage and listen and be sent on their way to ponder that always ineffable imponderable: the White man’s evil.
“She is currently completing the bronze of Manfred Goldberg BEM, which will be unveiled in October. Manfred was just 14 years old when he spent more than eight months as a slave worker in Stutthof and its subcamps, including Stolp and Burggraben. He hopes the work will stimulate interest in finding out about the Holocaust and that this horrendous period in the life of the world would never be forgotten. Her work is so much more than the story of one life. It is the preservation of history, a testimony for future generations.”
Trust me it won’t be many future generations hence when the likes of this Berg, like all the Steins and Witzes, will be a running gag, annoying gum on the shoe of the world. We won’t melt it down and reconstitute it as one of our own as we would never sully our own with the likes of him. It’s amazing how all these liars have MBEs or BEMs or are fancy Lord Something-Or-Others. In England today those things come cheap but still they want to make sure that the residue of the ghettos and the ones “liberated” from the camps get the due which they want the world to think they deserve. The media reports about this story all claimed that the Hebrew sculptress was “racing against time” to preserve the “honored images.” But really it’s all just ballast that will soon be tossed overboard when in a just world they get what they really have coming: utter oblivion. But for now the dupes and the gulls will wander solemnly through the collections and perhaps shed a tear or two for the humanity of it all. For if the Jews are firm in any two convictions and want the world to think likewise it’s that the Jews are better than everyone else and that their suffering, such as it is, is unique. And so powerful and bitter and heart rending that no other suffering can even think about holding a candle to it. And you can see the bitter fruit of this perversion of thought if you wander into a Jew museum in the heart of a once White England and see the bronze heads of the liars.
Sculpting The Hoax
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Douglas Mercer
- Posts: 10963
- Joined: Tue Mar 28, 2023 7:29 pm
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Douglas Mercer
- Posts: 10963
- Joined: Tue Mar 28, 2023 7:29 pm
