Created through Papadopoulos’ distinctive process of breaking, painting and laminating glass, the work reimagines the image of Christ through fragmentation. The fractured surface becomes both material and metaphor: a visual language of suffering, vulnerability and transformation. ‘Ecce Homo, Ecce Dolor’ is conceived as a dual-sided portrait. One side presents Christ as Ecce Homo — the man brought before the crowd, soon to be crucified. On the reverse, the public image gives way to something more intimate: the human being confronting his own suffering. The icon is no longer simply something to look at. It becomes something the viewer must move around, encounter and reconsider.