The transfer-print originally taken from the Caffè Rosso at the Piazza Santa Margarita in Venice, Italy, is free improvisation and a contemporary problematization of the conventional representation of saints as well as at the same time—by nature of the subject—a homage to Saint Margarita.
The painting depicts elements of the myth of Margaret of Antiochia in the form of a disembodied representation of the saint. It is part of a group of works questioning the representation of sacrality under the limiting condition of a profane contemporaneity. Other works of this group are Fatima (2010), Sepulchre (2014), The Altarpiece (2015) among others. This group of works problematizes the integral state within an ongoing process that Theodor W. Adorno characterized in 1957 as the very moment in which any theological element would have to face its transformation into something secular and profane.