Christrinity reinterprets Christian iconography through a queer perspective. Three figures originate from the same mold of a crucified Christ, later removed from the cross and reshaped in wax. Two stand on bases while supporting a third whose feet have disappeared. Their poses become theatrical and feminized: dramatic gestures, abundant sculpted hair, and burlesque drapery transform the traditional loincloth into a ruffled dress. The composition reimagines the three days Christ spent in hell as a passage sustained by multiple selves, suggesting salvation through solidarity and self-love.