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sculpture #1.Strong child, young woman, maiden/fanciulla Vadim Gryadov
Look at how vast, amazing, and full of wonders the world is! Every step forward opens new horizons, teaches you to see deeper, and makes you stronger and wiser. Don’t be afraid of the unknown, don’t stop, and never lose sight of your path — there is still so much beauty ahead, and you can make it happen!
Sculpture 2: Maysa Yousef Radovan Zivny
The shell and the wooden door as the gateways to diferent fantastic worlds. In this proposal I picture Maysa herself in the halfportrait. The composition is divided by elements of concrete blocks symbolizing the real world of Palestine: dividing walls, destruction, violence, pushing people into ghettos.
For Maysa Yousef painting the adventures of her heroine Alice in Wonderland helps her to „express her feelings in the desire to fly, fall, escape, change reality.“ Her exposition called Alice in Palestine in June 2021 expresses her longing for a better place, free of war and violence, often pictured as dreamy, imaginary and surreal scenarios.
The sculpture is directly inspired by the painting „A Short Visit“ in which the artist (through her alter ego Alice) escapes the real world of conflicts and destruction into the harmonius and quiet world under the water. She dives into the depths of the sea to find herself in the serene company of fish, shells and other sea creatures to find the peace which she hopes to share with the others.
Sculpture 3: Masha (Jina) Amini Hanneke Supply
At the heart of this sand sculpture is the face of Mahsa Amini, the spark that set a movement in motion. From her, giant waves spread outward in concentric ripples. Each wave carries a symbol marking a step in the movement that followed, from the first cry for justice to the voices that rose around the world.
Like a stone dropped in still water, one life became a ripple that kept growing. The sand is temporary, but the message it carries is that a single voice can change the shape of the whole sea.
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Sculpture 4: Malala Yousafzai Agnese Rudzite
Malala is in between book shelf with Afghanistan mountain landscape in background. Like her past and now time .And flying sheets are like symbols of freedom. On papers would be Malala 's book drawings,henna hand drawing, flowers...
Sculpture 5: Rajiya, a Weeping Mother Marielle Heesels
Represented as a Sudanese woman, this sculpture gives modern form to an ancient grief. Her name is Rajiya, and like Rachel: the biblical mother who wept for her children and refused to be comforted (Matthew 2:16–18): she represents the sorrow of mothers across every place and time. Here, that grief wears a specific, present-day face: a mother from Sudan, standing for a war the world has largely turned away from.
Rajiya's grief speaks for the children and civilians lost to conflict, and for every family driven from home by violence and hunger. It is not confined to one place: this same grief is carried by mothers in Palestine, Ukraine, and Iran, in Syria and the DRC, in the waters of the Mediterranean, in every home waiting for word that never comes.
Sculpture 6: Rita Levi-Montalcini Lotte Oster
Rita Levi-Montalcini (1909–2012) was an Italian neurobiologist and Nobel Prize winner who lived to the remarkable age of 103. During World War II, she was excluded from the university because of her Jewish heritage. Refusing to give up, she set up a makeshift laboratory in her bedroom, where she used chicken embryos to study how nerve cells develop and grow. Her groundbreaking discovery was the identification of Nerve Growth Factor (NGF), a substance that stimulates the growth and survival of certain nerve cells. This remarkable achievement earned her the Nobel Prize in 1986. The eggs, the chick, and the intricate branching nerve cells in the sand sculpture tell the story of her extraordinary scientific discovery.
Sculpture 7: NO!: Franca Viola Nicola Wood
Breaking Free
Viola Franca’s story is one of extraordinary courage and defiance. In 1960s Sicily, she refused to marry the man who had abducted and raped her, challenging a society in which a woman’s honour was valued above her freedom. Her refusal became a powerful symbol of resistance against shame, injustice and the expectations imposed upon women.
In this sculpture, vertical stripes form prison bars, representing the social constraints that sought to imprison her. Hidden within them is the word NO, a simple but revolutionary act of defiance.
The stripes binding her begin to unravel, transforming into flowing ribbons from which flowers emerge. What once represented confinement becomes a symbol of freedom, growth and renewal.
Viola’s story reminds us that shame belongs not to those who suffer injustice, but to those who inflict it, and that sometimes, a single word can change history.
Sculpture 8: Women of the Republic Agnese Rudzite
Sculpture 9: How it’s made
Sculpture 10: Flowers That Speak (David)
Sculpture 11: Samantha Cristoforetti Jakub Zimacek
My sculpture explores the contrast between the immensity of the universe and the fragility of human life. I chose to portray Samantha Cristoforetti in a fetal position, floating within the vastness of space. The astronaut is connected to the Earth by an umbilical cord, creating a symbolic connection between humanity and its home planet. The fetal position represents vulnerability, humility and our dependence on the Earth, while the surrounding cosmos emphasizes how small we are in relation to the universe. Even after reaching space and seeing Earth from a completely different perspective, we remain connected to it and ultimately depend on it. The Earth becomes a mother — not as a literal figure, but as the source of life and the place to which we belong.
Sculpture 12: The Annunciation to Mary Michela Ciappini
l like to make Maria as a young girl thinking on what it is happening on herself.. She is looking at the flower symbol of the annunciation, question about what that means and what she feel to do.
The annunciation is represented by a flower falls , where behind it it should shine a light.
The left side represent her thought as a Curley drapery. The cloth is representing thought of care and folding with in, or rather cloth that frame out .. it is representing the evaluation she is doing…
Sculpture 13: The Visitation Nikolay Torkhov
Sculpture 14, 15, 16: Three Nativities, Reimagined Pedro Mira
Sculpture 14: Paul Gauguin, La Naissance du Christ / The Birth of Christ (1896).
An all-female birth scene transplanted to a distant land strips the Nativity of European staging and returns it to something universal: birth belongs first to women, wherever the powerful set their story.
Gauguin's Nativity transplants the Gospel entirely into another culture, imagining an all-female birth scene in a distant, unfamiliar land where the sacred and the everyday exist side by side without tension. Stripped of the European visual conventions that usually surround this story, the scene becomes something more elemental: birth as a matter handled among women, plainly and without ceremony. It is relevant here because it strips the Nativity of its usual staging and returns it to something closer to universal human experience: however the story is told, across whatever culture, birth belongs first to women.
Sculpture 15: Piero della Francesca, Madonna del Parto (1460).
Pregnancy itself becomes sanctuary ; the sacred held entirely within a woman’s body, before any manger or witness. The Magnificat’s exaltation of the lowly begins here, literally inside her.
Not a Nativity scene at all in the traditional sense, this painting captures the moment just before: a pregnant Mary, her hand resting at the opening of her gown, gesturing toward her own womb. There is no manger, no child yet born; the sacred is held entirely within her body. Piero della Francesca treats pregnancy itself as a kind of sanctuary, the pregnant form as sacred architecture: the actual, physical site where the divine is becoming incarnate. It belongs in this trio because it centers motherhood not as a backdrop to the miracle, but as the miracle's very location.
Sculpture 16: Georges de La Tour, The Newborn Child (1640).
Two women keep watch over a newborn by candlelight, with no angels or kings in sight. Protection and tenderness carried out by women in the dark are, the piece insists, the first true acts surrounding the incarnation ; mercy at its quietest.
De La Tour's painting reframes the Nativity as an intimate, candlelit scene of two women: Mary and Saint Anne: watching over the newborn Christ. There are no shepherds, no wise men, no theatrical staging of the sacred; only a single flame, a hushed room, and the quiet, practiced care of women tending to new life. Its power lies in how ordinary it makes the divine: this could be any birth, any family, any night. It belongs here because it insists that protection and tenderness: carried out not by angels but by women, in the dark: are themselves the first true acts surrounding the incarnation.
Sculpture 17: The Shepherds. Susanne Ruseler
Description: Shepherds receiving the angels' announcement of Jesus’ birth.
Young women sent to the fields’ edge, among the lowest-status workers of their world, are the first to hear that a king has been born. The proud were not told first; the announcement went to those with the least power to matter.
Sculpture 18: The Holy Family / The Nativity Slava Borecki
Description: Mary, age twelve-fourteen, holding newborn Jesus to her chest, set in a cave with round, organic forms; Joseph shown as loving and accepting.
Sculpture 19: The Magi Dmitry Klimenko
Description: The three Magi, on their way, moving toward the Nativity with the gifts.
