C R U X

E X H I B I T I O N - 7 A P R I L - 2 0 1 1

a c e t a t e p r i n t

In researching religious iconography I looked extensively at old, historic pieces of religious art - particularly triptychs. I liked how triptychs incorporated three different stories and themes whilst still maintaining a cohesive narrative. I’ve taken a similar approach to my piece; the three depths to my picture - the prominent and austere cross; the sins hidden within the mass of unruly forestry that represent those who sinned - and ultimately, those who Jesus Christ died for; and the secluded but centralised image of Jesus Christ, all tell a different tale of religious iconography. Yet each part of the triptych supports the other, and each one individually is supported by a number of beliefs and emotions. The cross exists because of Jesus; Jesus exists because of the sins he died for; and the hidden sins exist within and through both of the icons that contain them within the picture. The power that lies within Religious iconography is undeniable, believer or non-believer, and I attempted to catch this within my austere and unsettling modern adaptation of the old, heavily saturated, triptych form.

Photographs by Matt King and Felicity Ireaci