| Crusade reimagines the rose window as a wheel of ideological spectacle. Composed of breakfast cereal boxes—Cap’n Crunch in multiple incarnations, Froot Loops, Corn Pops—the collage radiates outward in symmetrical segments, mimicking the sacred geometry of Gothic cathedrals. But here, the saints are mascots, the relics are sugar-coated, and the crusading impulse is redirected toward brand loyalty and childhood nostalgia.
In each corner, images of military parades reinforce the logic of strength through numbers. Uniforms, flags, and synchronized movement become visual metrics of power—discipline as display, belief as choreography. These parades echo the historical Crusades not in theology, but in optics: the spectacle of righteousness, the performance of unity.
Within the framework of New Morality, Crusade critiques the commodification of strength, the branding of belief, and the competition for moral market share. Religion becomes enticing not through doctrine, but through design. The circular format stages a symbolic contest—where sweetness, spectacle, and structure vie for spiritual attention.
Printed on polychiffon, the work gains a soft translucence. The fabric allows light to pass through the architecture of branding and militarized ritual, exposing their shared logic.
Crusade becomes a wearable icon of consumer mythology and ideological pageantry—ornate, ironic, and structurally devout.
|
