| Lourdes reframes the miraculous as a broadcast event. A satellite, rendered in stark black, hovers in the upper left quadrant, emitting signals across a textured field of black and white brushwork. It is not merely a transmitter—it is the voice of the divine from above. A modern oracle, speaking across fractured terrain into a segmented world.
Above the satellite, Arabic text floats in white—partially obscured, stylized, and sacred. It evokes scripture as signal, belief as embedded code. To the right, a fragment of
Monopoly currency marked “100” in purple disrupts the composition with economic weight. It is not a full note—it is a symbol. A gesture toward value, exchange, and the commodification of faith.
The areas are segmented by dotted white lines, echoing the logic of butcher charts. The sacred is not whole—it is diagrammed, partitioned, and transmitted. The satellite becomes a proxy for divine communication, the currency a critique of transactional spirituality, and the diagram a map of belief systems rendered into parts.
The title Lourdes invokes one of the most iconic sites of pilgrimage and healing—a place where the miraculous is expected, where faith is enacted through physical journey and divine voice.
In the context of New Morality, Lourdes interrogates the way faith is packaged, mediated, and valued. It stages salvation not as mystery, but as
infrastructure.
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