In Blessed Are The Bound, sacred architecture becomes the backdrop for an act of radical reclamation. A woman kneels in bondage before a haloed rose window, her wrists and ankles fastened with deliberate symmetry. At first glance, the scene evokes submission... but look closer, and you’ll find something else entirely: Power. Intention. Control.

For Honey, this image is personal. As a woman raised in a purity-obsessed, patriarchal faith tradition, her body was once something to fear... to cover... to control. But through her lived experience in the BDSM community, submission became something new… chosen, empowering, and defiant in its vulnerability. Here, kneeling is not a gesture of obedience to God or man, it is an offering to herself. To her truth. To a kind of holiness that exists outside of scripture.

The stained glass windows don’t judge her, they crown her. The bed becomes an altar. And the phrase Blessed Are The Bound no longer drips with oppression, it radiates liberation.

This piece isn’t about shame. It’s about transformation. It’s about a woman who found her power by refusing to play by the rules... and writing new ones in flesh and steel.