For this body of work Bessems translated the seven deadly sins that originate from Christian theology into seven respective sculptures that are complimented by sound fragments, drawings and performances. As with previous sculptures, Bessems explores the magnitude and intensity of experiencing things in our inner lives. With this particular exhibition we see how his larger than live figures grapple with pride, greed, lust, envy, gluttony, wrath and sloth. 2023 years after the world’s most famous crucifixion, these vices still overshadow our more secular phase of civilisation. Like a present-day delegate of  Hyronymus Bosch, Bessems aestheticises our tendency towards depravity and illicit behavior. We find ourselves in a desecrated Art chapel with crude looking giants, stuck in their profane ways. Mud-made monsters that have lost their capacity to wash away their sins. A timeless metaphor that still applies to our present human condition.