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Russian artist Andrei Molodkin has unveiled a sculpture that boldly addresses Catholic Church abuse.
He intends to fill the sculpture with survivors’ donated blood and project it onto the Vatican gates.
Molodkin, previously in the spotlight for selling blood-soaked copies of Prince Harry’s memoir, anticipates that this latest endeavour will provoke outrage among Catholics.
Inspired by the late singer Sinead O’Connor’s protest against abuse in the Catholic Church in 1992 when she ripped up a photo of Pope John Paul II, Molodkin remains unflinching, stating “It doesn’t bother me.”
Molodkin, based in France, plans to gather the blood of 30 to 40 donors to fill the sculpture.
The project’s completion is scheduled for the end of September.
He has already secured the participation of a priest who was a victim of abuse within the Catholic Church and hopes others will join in.
Molodkin’s project, entitled “Gate of the Vatican soaked in the blood of people abused by the Catholic Church,” represents the Keys of Heaven, an emblem of the papacy.
“The sculpture is ready to receive the blood of people abused by the Catholic Church, to give them a voice,” he said.
Artist expects to shock
While Molodkin expects shock and surprise from the Vatican, he remains steadfast in his mission to provide a platform for abuse survivors to speak out.
He clarifies that his intention is not destruction but to give a formal voice to those who have been silenced.
Molodkin chose the Catholic Church as his target because he views it as a powerful organisation with many hidden secrets.
The artist’s previous work involved projecting a sculpture filled with Afghan blood onto St Paul’s Cathedral in protest against Prince Harry’s memoir, where Harry admitted to killing Taliban fighters during his military service.
The proceeds from selling blood-soaked copies of the memoir went to organisations aiding Afghan migrants.
Molodkin’s use of human blood in his art stems from a personal tragedy during his time in the Soviet Army.
A friend, subjected to severe abuse by commanders, ultimately took his own life. This traumatic experience has fuelled Molodkin’s commitment to highlighting the dangers of war and the dehumanisation it can bring.
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