NEW WORK

In my latest works from the long running series “Figure for the Base of a Crucifixion”, I delve into digital communication on social media, the representation of women, and contemporary issues with sexuality. I use emojis and excerpts from sexting text messages, TikTok videos, and REELS, as well as quotes from influencers, which I print out and then stick onto my body to transfer them from the digital to the physical realm. My body acts as a projection surface for practices from the virtual world and makes pervasive language visible. This deliberately deepens the contrast between the colorful emojis, intrusive texts, and the female body, which is nothing more than an advertising space.

Figure for the base of a crucifixion #26, R U on IG? (2023)

Figures for the Base of a Crucifixion #26 and #27 – “R U on IG?” (2023) explore digital exchanges around sexuality, desire, and longing—known as sexting. The body, overwhelmed by pornographic messages, becomes a mere shell, revealing the promised intimacy as profound alienation and interchangeability. The back view of “Figure #27 – R U on IG?”, inscribed with “I just kissed my screen,” evokes a haunting sense of disorientation and absolute solitude, while #26’s figure back view—with its “So What!” speech bubble—conveys stark indifference.

Figure for the base of a crucifixion #27, R U on IG? (2023)

Figures for the Base of a Crucifixion #26 and #27 – “R U on IG?” (2023) explore digital exchanges around sexuality, desire, and longing—known as sexting. The body, overwhelmed by pornographic messages, becomes a mere shell, revealing the promised intimacy as profound alienation and interchangeability. The back view of “Figure #27 – R U on IG?”, inscribed with “I just kissed my screen,” evokes a haunting sense of disorientation and absolute solitude, while #26’s figure back view—with its “So What!” speech bubble—conveys stark indifference.

FIGURE FOR THE BASE OF A CRUCIFIXION # 28, TikTok (2025)

In the work “Figure for the Base of a Crucifixion #28 – TikTok” (2025), the focus is on misogynistic harassment—in this case, from the 2024 US election campaign—with inscriptions like “Your body. Our choice.” – “We control bodies.” – “Your stupid face” – “We will keep you down forever.” Yet the back view, marked “Bitch Mode ON,” signals a defiant feminist resistance.

FIGURE FOR THE BASE OF A CRUCIFIXION # 29, The Matrix (2026)

The work “Figure for the Base of a Crucifixion #29 – The Matrix” (2026) reveals the language of the manosphere—that parallel universe of young men like MRAs (Men’s Rights Activists), PUAs (Pick-Up Artists), Incels (involuntary celibates), and MGTOWs (Men Going Their Own Way). They claim all women are hypergamous and men are oppressed by feminism, fueling fantasies of women’s degradation, subjugation, and domination—as seen in statements like “I love to rape you!”

FIGURE FOR THE BASE OF A CRUCIFIXION # 30, Tradwife (2026)

In the work “Figure 30 – Tradwife” (2026), the artist examines the seemingly perfect housewife world of Tradwives, promoted by countless influencers who make everything “from scratch”—celebrating bread-baking and child-bearing for their followers while normalizing an old-fashioned, conservative worldview. For them, however, it’s a lucrative business model.

PAYGAL (2024)

This diptych, PayGal (2024), confronts you with one self-portrait completely natural—no makeup or photo retouching—the other with heavy makeup and digital retouching. In both photos, I have my PayPal QR code in my mouth. Now, when you point at this work with your smartphone to take a photo of my artwork—whether for your camera roll, to secretly make a print, or to share the image on social media—even before the camera captures it, you will be directly linked to my PayPal account. You can then send me money, deciding for yourself how much this woman-artwork-product is worth to copy.

THE PEFECT WOMAN IS A LIE (2023)

R U ON IG? SELF-PORTRAITS WITH MASKS I - VI (2024)

In this new series, R U ON IG? SELF-PORTRAITS WITH MASKS I - VI (2024), Susanne Junker explores the phenomenon of the worldwide use and rise of emoticons in our digital world, which is present at all levels of different social structures. She takes an anti-AI approach by analogizing the emoticons, printing them on paper, cutting them out, and using them to create masks on her own face. Each mask carries a theme and a conversation. No matter where you come from, we all speak the same emoticon language in our daily communication. The masks cover Susanne's entire face, leaving only her bare neck to represent herself in this self-portraits series.

© SusanneJunker 2026