Nibiru, The Last Supper

Nibiru: The Last Supper measures 280 × 840 cm (9 × 3 meters) — possibly the largest block print ever created. Over two years, I combined traditional woodcut with gipsoryt, a rare plaster-engraving technique first described by the French printmaker Maxime Lalanne (1827–1886), to produce this monumental work shortly after graduating from the Academy of Fine Arts.

The composition reimagines Leonardo da Vinci’s Last Supper: (in my case) it is fourteen faceless beings, their bodies intertwining in a complex horizontal landscape. The part of the title comes from Babylonian mythology, where Nibiru — in Akkadian — means “crossing” or “point of transition.” This idea resonated on multiple levels: it became my own crossing point as an artist, facing the immense challenge of composing fourteen figures in dialogue with one of art history’s most iconic scenes.

The process itself became meditative — months of carving, printing, and problem-solving — a physical and spiritual passage from one artistic phase to another. Nibiru also marked what came after: a transition away from printmaking at this scale. It became, quite literally, my Last Supper — the final monumental print I’ve made to this day.

The work transforms the biblical narrative through Greek mythology, human anatomy, and cosmic symbolism. Each stage represents a crossing: from sketch to digital draft, from digital to carved matrix (wood and plaster), and finally from matrix to print on cotton paper.

Ultimately, this piece is about passage — technical, thematic, and personal. After its completion, it faded into obscurity. Until now, perhaps.

Watch the complete making-of process: YouTube Video