In 2004, as part of a four-artist exhibition at Melbourne’s Immigration Museum — where each artist occupied their own room — George Alamidis presented an installation exploring themes of migration and speculative family history. In his space, Alamidis layered personal memory with invented narrative, fabricating Greek identity cards that featured fictitious personas crafted from manipulated images of himself . He also produced a suite of portrait prints digitally weathered to appear rust-stained and timeworn, evoking the fragile patina of old family heirlooms. Completing the installation was a collection of faux vintage postcards from Nafplio’s Palamidi fortress —a nod to the artist’s surname and an imagined ancestral origin story. Through these nostalgia-steeped artifacts, Alamidis blurs the line between truth and myth, layering memory with constructed identity and historical speculation to reflect on how migrant histories are remembered and reimagined.
