As a child, the omnipresent crucifix in my grandmother’s house inspired a deep ambivalence: I was both fascinated and horrified by this brutal representation of suffering, to the point of considering a society capable of elevating such a torment to a symbol of faith as demonic. Yet, upon my grandmother’s death, I felt an instinctive need to craft a crucifix myself, as if to maintain a spiritual connection with her, thus transforming this historically charged symbol in my work into a point of tension where family memory and ritual converge.