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:
“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)
“A way of certifying experience, taking photographs is also a way of refusing it—by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.”
—Susan Sontag (b. 1933)