A shocking sculpture of Donald Trump, bound to a cross and dressed in prison attire, has sparked both fascination and debate in Switzerland. But here's where it gets controversial... Is it a bold statement on modern politics, or a tasteless provocation? British artist Mason Storm’s piece, titled Saint or Sinner, portrays the former U.S. president with closed eyes, his body stretched across a tilted, padded white cross. The imagery evokes powerful associations—crucifixion, execution, or perhaps martyrdom—leaving viewers to interpret its meaning. Since its debut in Basel last Saturday, following an earlier exhibition in Vienna, the sculpture has drawn crowds and ignited conversations.
Konrad Breznik, owner of the Gleis 4 gallery, described the work as ‘scary realistic’. ‘When we set it up, we were struck by the detail—every wrinkle, every texture of the skin looks so lifelike, it’s almost unsettling,’ he told AFP. Originally planned for display at Basel’s central train station in September, the gallery opted for a quieter location—a showcase window on Basler Kunstmeile, a bustling pedestrian walkway. Even there, electronic counters recorded over 3,000 passersby on Monday alone, many pausing to reflect or smile.
And this is the part most people miss... Despite its provocative nature, the sculpture hasn’t sparked outrage—at least not publicly. ‘It’s a testament to democracy that we can display something like this,’ remarked Marit, a Norwegian resident of Basel, who doubted the piece could be shown in the United States. Breznik, however, offered a surprising take: ‘I think Mr. Trump might actually admire this portrayal. He might see himself as a modern-day Jesus, convinced of his own righteousness.’
Mason Storm, the enigmatic London-based artist behind the work, is known for his hyper-realistic yet unconventional creations. Often compared to Banksy, Storm’s art challenges societal hypocrisies, though he keeps his identity hidden behind masks or balaclavas. On Instagram, he describes himself as ‘the artist people love to love and love to hate, an international bon viveur, pusher of pigment, and doer of deeds.’
Long before its Basel debut, Saint or Sinner was acquired by an anonymous collector—an ‘internationally renowned figure living in Europe,’ whose identity remains confidential. But here’s the real question: Does this sculpture elevate Trump to a martyr-like status, or does it mock his legacy? And is it a celebration of free expression, or a line crossed in political commentary? Weigh in below—let’s hear your thoughts!
