Standing at the heart of St. George’s Square, Valletta, is a crucifix unlike any other. It’s not the traditional wooden or marble figure you’d expect. Instead, it’s a sleek, stainless steel sculpture, a modern interpretation of the classic symbol. This is just one example of how the crucifix, a staple of Maltese culture, is being reimagined in the hands of local artists.

The crucifix has long been a central figure in Maltese art and culture. From the intricate stone carvings in Gozo’s Azure Window (now lost to the sea) to the gilded processional crucifixes carried during Easter processions, it’s a symbol that’s deeply rooted in our history. But what happens when you take this traditional icon and place it in the hands of contemporary artists?

In Malta, a new wave of sculptors is doing just that. They’re experimenting with materials, forms, and meanings, creating crucifixes that challenge our perceptions and push the boundaries of what religious art can be.

Take, for instance, the stainless steel crucifix in St. George’s Square. Created by Maltese artist Alexia Pace, it’s a stark contrast to the traditional wooden crucifixes that dot the island’s churches. The steel gives the piece a cool, industrial feel, reflecting the urban scene around it. Yet, it’s also a nod to the traditional Maltese craft of metalwork, seen in the intricate filigree found in many a Maltese home.

Other artists are experimenting with different materials. At the Muza Museum in Birkirkara, you’ll find a crucifix made of resin and fiberglass by Maltese artist George Muscat. It’s a lightweight, almost ethereal piece, a far cry from the heavy, solid wood of traditional crucifixes.

It’s not just the materials that are changing. The form of the crucifix itself is being reimagined. Some artists are playing with scale, creating giant crucifixes that dwarf the viewer, or tiny ones that invite intimate contemplation. Others are exploring abstraction, creating pieces that reference the crucifix form but don’t conform to it exactly.

And then there’s the meaning. For some artists, the crucifix is a symbol of faith, a starting point for exploration and meditation. For others, it’s a symbol of Maltese identity, a cultural icon to be celebrated and interrogated. And for still others, it’s a symbol of suffering, a prompt for reflection on the human condition.

Consider the work of Maltese artist Vincent Apap. His crucifixes often depict the figure of Christ in a state of flux, melting or dissolving, a commentary on the impermanence of life and the passage of time.

These modern crucifixes aren’t just found in galleries and museums. They’re also popping up in public spaces and community settings. The stainless steel crucifix in St. George’s Square, for instance, was commissioned by the Valletta 2018 Foundation as part of their public art program. It’s a piece that’s meant to be seen and engaged with by the community, a starting point for conversation and reflection.

And it’s not just in Malta. Maltese artists are taking their crucifixes global. Pace’s stainless steel crucifix has been exhibited in Italy and Germany, while Muscat’s resin crucifix has been shown in the UK and the US.

So, what does the future hold for the crucifix in modern sculpture? As Malta continues to evolve, so too will its art. We can expect to see more experimentation, more innovation, more crucifixes that challenge and inspire. After all, as Maltese artist Austin Camilleri puts it, “Art is about pushing boundaries, about asking questions, about making people think.”

And that’s exactly what these modern crucifixes are doing. They’re making us look again, think again, feel again. They’re reminding us that art, like life, is a journey. And in Malta, that journey is leading us into the future, one crucifix at a time.