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, reclining on 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." He recalled the installation process, noting, "You could see every wrinkle, every detail of the skin—it’s incredibly lifelike, almost unsettling." 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 in a single day, many pausing to reflect or smile—though, surprisingly, no one voiced outrage.
And this is the part most people miss... The sculpture’s presence in Switzerland has been hailed as a testament to democratic freedom. Marit, a Norwegian resident of Basel, told AFP, "It’s a sign that we have democracy—that we can show something like this without fear." When asked if such a piece could be displayed in the U.S., she bluntly replied, "I don’t think so, no." But Breznik offered a counterintuitive take: "I think Mr. Trump might actually appreciate it. He’d probably see himself as a modern-day Jesus, convinced he’s on the right side of history."
Mason Storm, the enigmatic London-based artist behind the work, is known for his hyper-realistic yet provocative creations. Often compared to Banksy, Storm’s art skewers societal hypocrisies while maintaining an air of mystery—he never shows his face, opting instead for balaclavas or self-designed masks. 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," according to the gallery. But here’s the question that divides opinions... Is this sculpture a brilliant critique of power and perception, or does it cross the line into disrespect? Does its impact depend on where it’s displayed? And what does it say about the boundaries of artistic expression in different societies? Let us know your thoughts in the comments—this is one conversation that’s far from over.
