In a gilded cathedral built to contain women, control women, and sanctify the suffering of women, Honey installs a new kind of saint.

The bound woman at the center of the nave (gagged, gloved, rope-bitten, and unmistakably erotic) arrives not as a victim, but as a revelation. She floats where statues of obedience, purity, and holy silence were meant to stand. The church architecture, heavy with patriarchal grandeur, becomes a stage Honey repurposes for the kind of submission that is chosen, embodied, and hers.

Raised within the strictures of purity culture, Honey reclaims the iconography that once defined her worth. Here, BDSM is not sin or shame, it is ritual, agency, and ecstatic self-determination. The ropes become vestments. The gag becomes a sacrament. The sensual body, long vilified by doctrine, becomes divine.

Above her, the painted heavens open into surreal fruit… a cosmic, humorous rewriting of “forbidden fruit,” reframing desire as nourishment instead of punishment. The result is a subversive altar piece, a feminist and spiritual inversion that reminds us that power and surrender are not opposites… but tools that belong to those who choose them.

Our Lady of Blessed Submission is Honey’s refusal to let the church write her story.
She writes her own gospel… one bound in rope, lit by gold, and wholly liberated.