The sculptures are constructed to depict miniature houses, which, beyond the concrete, serve as structures for metaphors of emotional states that bring us closer to or distance us from God, according to the artist. A God who dwells within man and in the nature of which he is a part, and not outside of it. For Gabrielle, nature is the primordial residence of being, a space for reconnection.

The series takes as its starting point the unsuccessful restoration of the Ecce Homo fresco, carried out by Cecilia Giménez in the city of Borja, Spain, which distorted the image of Jesus and became a viral story on the internet in 2012.

The theme permeates the artist's work, who spent her childhood in a convent in Belgium, where religious experience was strongly associated with punishment, martyrdom, and rigidity.

In his works, Maussen seeks through art to deconstruct the figurative representation of the divine and to create a new form of representation for it, so that spirituality and humanity may come closer together.

The unfoldings are made of wood or paper, artistically intervened with materials such as branches, herbs, shells, secondhand objects, wax, concrete, etc. Gabrielle seeks to bring the representation of man's inner universe as the interior of the house, in contrast to its exterior appearances. Also, in some of the works in the series, the houses become small, self-managed natural micro-environments, with microclimates and living beings, in constant transformation.