Big Baby Jesus: Subtitle

Tribal art is the beginning of everything.
It is where gesture became language, and image became belief.

In a time when the agenda of separation feels dominant, we turn to the artists whose work reclaims that ancient impulse — to connect, to remember, to resist passive acceptance of narratives already written. As we evolve, we look to our ancestors: to their markings on cave walls, their painted stories on ceramics, their woven myths on tapestries unearthed across Africa, Central, and South America.

From the visual iterations of Baby Jesus commissioned by European elites — frescoed on church ceilings and canonized in oil and gold — to the spiritual fetishes carved in wood and metal across the African continent, we find a shared desire: to make the invisible visible.

From mythology to scripture, from spoken story to sacred image, humanity has always sought to translate the unknown through creation.
Church in State: Big Baby Jesus retraces these steps not to romanticize the past but to confront how belief and image became tools of power — how the sacred, once born from instinct and ritual, was gradually institutionalized and controlled.