The Photographs
The photos recreated classical Christian motifs, but substituted the persons or the surrounding context with lesbian, gay, bisexual and transgender-related (LGBT) issues and persons. An example of context substitution is the recreation of the motif of Mary holding Jesus (the Pietà motif), with the surrounding context being that of a medical facility, with Jesus dying from AIDS.
The photographs are all connected to, and shown together with, quotations from the Bible and depicts: Annunciation Luk 1:30-31, Birth of Jesus Luk 2:7, Baptism of Jesus Luk 3:21-22, Woes of the Pharisees Matt 23:13, The Arriving to Jerusalem Luk 19:37 -40, Last Supper Matt 26:26 -28, The kiss of Judas Matt 26:45 - 48, Jesus being weighed down by the cross Mark 15:17 - 20, Crucifixion of Jesus Matt 27:45 - 46, Pietàn Joh 19:26, Jesus showing himself to the women Matt 28:9 - 10 and Heaven Matt 18:18. Many of the pictures are inspired of classical paintings and all of them are photographed in a modern surrounding. The photographer has deliberately used homosexual models to communicate the likeness between biblical situations of being unaccepted and modern ones, and to show the all-embracing love of God. On the photo of the Last Supper there are transgendered instead of homosexual models, as a comment of the fact that Jesus according to the Bible often partook in meals together with people not accepted by society.
Read more about this topic: Ecce Homo (exhibition)
Famous quotes containing the word photographs:
“As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.”
—Susan Sontag (b. 1933)
“The charm, one might say the genius of memory, is that it is choosy, chancy, and temperamental: it rejects the edifying cathedral and indelibly photographs the small boy outside, chewing a hunk of melon in the dust.”
—Elizabeth Bowen (1899–1973)