This work is part of my bachelor project, “Art as an instrument in the global art market in the
context of art crime,” where I looked at how trust and value are constructed within the art system
itself. It reflects on how credibility is formed and maintained in the art market, and how certain
structures are accepted as stable through repetition, agreement, and institutional belief. Although
the painting refers to inflatable church, the work is not about religion in a literal sense, but about
belief as a mechanism within systems of value and exchange.
Some things become real simply because enough people agree they are. The longer a structure
goes unquestioned, the more stable it begins to seem. And once enough people are already inside,
looking away often feels easier than asking what is actually holding it together.

(10/25)