The work is a sculptural chandelier, to be presented suspended from the ceiling. The main corpus of the work is constructed out of four transparent Plexiglas panels with engravings of the Vatican St. Peter’s cathedral façade turned upside down. The cut-out shapes of Pink Panther in different positions are attached to the façades. Inside the transparent corpus, an architectural model of the Sistine Chapel is suspended where one may gaze into the miniature reproduction of Michelangelo’s ceiling frescos from beneath the chandelier.

In 'Pink Panther vs The Pope', Simon Fujiwara makes oblique references to the current condition of political and moral world leaders. Pink panther - a subversive figure sometimes associated with the gay community - appears to have infiltrated the catholic holy inner sanctum, the Vatican. He plays havoc, popping in and out of windows, hanging from the ceiling of the Sistine chapel. A cartoon figure, a puppet with no voice and a desire to only satisfy itself seems to be running the show now. While the viewers might empathize with the innocent pink creature, Pink Panther is seemingly an unstable character without clear morals and social responsibility. The work asks, should he really be at the top, running the new world order?

The Pink Panther is a reoccurring figure in the artist’s work. Fujiwara sees Pink Panther as a subversive character. Originally mute and voiceless, it is often perceived as naughty, sometimes interpreted as a symbol for gay rights. Besides these popular connotations, the Pink Panther also appears in NSU propaganda clips, NSU (National Socialist Underground) being the German radical far-right terrorist group, responsible for almost a dozen killings and several bombings in the early 2000s. In this context, the figure of Pink Panther can be seen to have increasingly been used as a weapon of identity politics.