Original artwork description:

In this new composition from the cycle “There is no pain”, the crucifixion is not illustrated in the canonical sense, but reimagined as a cosmic fracture, a threshold between matter and spirit. From storms of pigment — rust, ash, turquoise sparks, and incandescent reds — a figure surfaces, half-dissolved, half-transfigured, suspended in a luminous rupture where chaos itself becomes sacred.
At the center resounds the ancient cry: “Eli, Eli, lama sabachthani”. Yet here it is not bound to a historical Christ, nor imprisoned by dogma; it reverberates as a universal question, the lament of every being at the edge of abandonment. It is less the scream of despair and more the vibration of a prayer without answer, diffused into the very texture of existence.
The body, porous and broken, refuses the rigid harmony of traditional iconography. It does not obey the canon of proportion or the hierarchies of sacred painting. Instead, wounds turn into portals, flesh evaporates into vibration, and blood becomes light. The halo is not imposed as symbol, but radiates from within, the afterglow of consciousness crossing into silence.
Thus, the work emerges as a meta-icon: a painting that carries the aura of the sacred while dissolving the rigidity of the sacred form. It liberates transcendence from its gilded frames, allowing it to breathe in rust, stains, accidents, and flows of color. What remains is not an object of worship but a space of encounter, where the viewer meets his own silence, his own sense of forsakenness, his own fragile possibility of transfiguration.
In this meta-icon, dogma no longer dictates form; chaos becomes the new liturgy. The crucifixion is no longer confined to theology but expands into the universal human condition — the confrontation between fragility and infinity, despair and resonance, abandonment and light.
Signed on August 16, 2025, this 60 x 80 cm work advances the series “There is no pain” into a manifesto of freedom: an image that does not deny pain, but disarms it — transforming agony into vibration, fracture into passage, and the last cry into a doorway where matter surrenders and only light remains.

Materials used:

acrylics and spray paints on canvas framed varnished

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