Holy Daddy is an assemblage merging religious devotion, eroticism, and consumer culture into a single image. On an old wooden holy water font, three colorful lollipops appear as sacred offerings, flanked by metal clamps and a silver chain spelling “DADDY”.
The piece plays on the tension between worship and submission, between faith and desire. The lollipops evoke childhood innocence but here become symbols of seduction and fetish. The religious object is both desecrated and re-sacralized — transformed into a contemporary altar for consumerist eroticism.
In the spirit of Baudrillard and Bataille, Holy Daddy suggests that consumerism has become our new religion — a system in which objects, bodies, and desires are elevated to icons of salvation. Where the sacred once represented the ineffable, the consumer object now embodies a secular transcendence: the worship of pleasure and excess in a disenchanted world.
Holy Daddy explores how power, pleasure, and devotion intertwine. Both the believer and the submissive seek transcendence, grounding, and surrender. The work questions whether modern consumption and sexuality have become our new rituals of worship — ecstatic gestures in a godless age.