The work is titled “Ascension Day”, although the artist also uses the shorter and almost provocative name “OMG.” The project was unveiled on May 14, 2026, to mark Ascension Day, and quickly spread across global art media and social networks thanks to drone footage.

For a casual passerby, the aircraft appears to be a randomly painted fuselage covered in abstract graffiti and calligraphic elements. The true image is revealed only from a bird’s-eye view: Christ is depicted along the fuselage, and his outstretched arms extend directly along the Yak-40’s wings.

The artist worked with a decommissioned Soviet Yak-40 that once belonged to Armenian Airlines and later stood abandoned for many years on the shore of Lake Sevan. At one point, a café even operated inside the aircraft. A machine once built for flight eventually became grounded, and Vierwind made this transformation the central metaphor of the piece.

The connection to Ascension Day carries multiple layers of meaning. According to the biblical narrative, Christ ascended into heaven on the 40th day after the Resurrection. The number “40” unexpectedly echoes the aircraft’s model name — Yak-40.

Another layer of the work is hidden in its details. On Christ’s garments, one can notice calligraphic elements and graffiti-style lettering reminiscent of the Armenian alphabet. These letters and lines encode narratives of Christ’s life, suffering, and death, blending street aesthetics with religious and historical symbolism.

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Vierwind emphasizes that choosing Armenia was intentional. Armenia became the first country in the world, in 301 AD, to adopt Christianity as a state religion. For the artist, it was important to create the project in a country where Christian identity has endured centuries of wars, tragedies, and historical catastrophes. In his interpretation, Christ is a universal symbol of human suffering, injustice, and pain.

The project was organized by the Swiss monumental and street art agency Braaam. Independent art curator Anna Kamay served as curator, while Italian photographer and videographer Mattia Coda documented the project. It was his aerial photography that allowed the world to see the mural in full — exactly as the artist intended.

Photo: Mattia Coda