In the heart of Valletta, at the Mużew Nazzjonali, stands a crucifix unlike any other. It’s not the crucifix itself that draws the eye, but the figure of Christ, crafted from rusted metal and glass, a stark contrast to the traditional wooden crucifixes that dot Maltese churches. This is the work of local artist, Dennis Vella, and it’s a testament to the crucifix’s evolution as a site of experimentation in modern sculpture.

The crucifix has long been a staple of Maltese art and culture, a symbol of faith and devotion. Traditionally, it was crafted from wood, often intricately carved and gilded. But as art evolved, so did the crucifix. Today, it’s not uncommon to find crucifixes made from metal, glass, even recycled materials. This shift is evident in the works of Maltese artists like Vella, George Muscat, and Glen Cassar.

“The crucifix is a powerful symbol,” says Vella, “but it’s also a blank canvas. It’s up to us, as artists, to interpret it, to make it speak to our time.”

Vella’s crucifix, titled Crucifixus Etiam Pro Nobis, is a prime example of this interpretation. The rusted metal and glass figure is a departure from the traditional, yet it maintains a deep spiritual resonance. “I wanted to show the passage of time, the transience of life,” Vella explains. “The glass shards are like tears, like the pain and suffering of humanity.”

Muscat, on the other hand, uses his crucifixes to explore the relationship between faith and identity. His series, Crucifixes of the Maltese Diaspora, features crucifxes made from materials sourced from Maltese communities abroad. “It’s about taking our faith with us, wherever we go,” he says.

Cassar, meanwhile, uses his crucifixes to challenge traditional notions of beauty and perfection. His series, Wounded Beauty, features crucifixes with distorted, almost grotesque figures. “It’s about showing the reality of suffering,” he says, “and the beauty that can come from it.”

These modern interpretations of the crucifix aren’t just confined to galleries and museums. They’re also finding their way into public spaces. The Mużew Nazzjonali, for instance, has a permanent collection of modern crucifixes. There’s also the St. John’s Co-Cathedral, which hosts temporary exhibitions of modern crucifixes during Lent.

“It’s important for these works to be seen in public spaces,” says Vella. “Art isn’t just for galleries. It’s for everyone.”