Thirty-three centuries of symbols fit in a chalice.

In vino veritas unfolds as a progressive revelation: thirteen works that converse like frozen frames, where time does not advance, it becomes embodied. Twelve apostles and a central presence. Community and origin. Witnesses and flesh.

The Holy Grail is no longer an object: it is a body, a womb that generates blood. The sacredness of the chalice shifts to the female womb, an alchemical space where the divine takes human form. Wine ceases to be metaphor and returns to its origin: blood as lineage, inheritance, embodied truth.

Each work presents two constants: a suggested womb, contained by female underwear, and a wine cup, metallic and ritualistic. Both engage in silent dialogue.

The series begins with the cup nearly empty. With each image, the wine rises: it does not spill, it appears—like menstrual blood, like gestation, like a secret made visible.

The underwear marks the boundary between intimate and sacred, and the female body becomes the architecture of myth.

In the thirteenth work, the narrative reaches its climax: the cup overflows, truth—veritas—reveals itself unabashed. The underwear rises to the navel. Cup and womb coincide. Christ is no longer a crucified figure, but transmitted blood, lineage, continuity. The sacrifice is redefined: not death, but permanence.

In vino veritas returns the myth to its bodily origin: before dogma, it was blood; before symbol, it was womb. And perhaps truth has always been there, waiting to be seen without fear.

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This complete series of oil-on-canvas diptychs by Cristina Guerrero is fully sold

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