Life‑size installation that confronts the viewer with a striking, suspended presence: the figure of a woman fixed high on the wall, her body echoing the iconic posture of the crucifixion. Instead of nails, her wrists are bound with wide strips of tape, which extend outward into large, wing‑like forms that both restrain and elevate her.

The entire figure is sculpted from papier‑mâché, giving her body a fragile, hand‑made materiality that contrasts with the monumental symbolism of the pose.

Illuminated dramatically from below, the installation casts shadows upward, intensifying the tension between vulnerability and transcendence. The upward light transforms the taped wings into luminous structures, while the woman’s body becomes a silhouette caught between suffering and ascension. The effect is theatrical, unsettling, and deeply human.

By reimagining a traditionally masculine religious icon through a female body, the work challenges inherited narratives of sacrifice, devotion and representation. The use of tape — a mundane, temporary, almost improvised material — replaces the violence of nails with a different kind of restraint, one that feels contemporary, domestic, and disturbingly familiar. The wings, made from the same tape that binds her, suggest that liberation and confinement may originate from the same source.

Entirely crafted from cuts of paper in different shades and textures, the  material reinforces the idea that identities — including sacred ones — are constructed, layered, and shaped by the world around them.

JESUS IS A WOMAN invites viewers to reconsider who is allowed to embody sacrifice, who is granted transcendence, and how the symbols we inherit can be reimagined through new bodies, new materials and new perspectives.