Ecce Homo - 2010 - Wrought iron, pastel on wooden panel, tree trunk, granite.
Ecce Homo - 2010 - Wrought iron, pastel on wooden panel, tree trunk, granite, rope.

First stanza in the path of the cross:
The evangelists claim that Jesus was brought to court in the palace of Galilee’s King Herod Antipas. Saint Matthew and Saint Mark also mention the presence of an entire company of soldiers. The latter clothe Jesus in a crimson tunic (the saint Tunic), place a crown of thorns on his head, and, pretending to pay him homage, hail him as the king of Jews while beating him with a cane. The outraged, beaten down, disfigured, unrecognizable Jesus Christ assumes all the world’s suffering. The work: At the center of the system, an inverse tree trunk represents and symbolizes the body of Christ, its roots drawing their energy from above. “The tree of life extends from top to bottom and the sun illuminates it entirely,” (Zohar). Real life comes from heaven and penetrates into the ground. All of its Being is inverted. Its roots in God are a dramatic prelude to the Ascension. The body is wounded, nude, reduced to a trunk in its raw state, which signifies the support and presence of the essence. A red cape whose appearance falls between rags and royal habit attaches itself to the scratched bark. A granite pedestal petrifies this instant like a heavy, inert “foot” nailed to the ground. The framework of this kind of tripartite altar piece is composed of metal [the condemned is of iron (en/fer) sheet metal (en tôle) in jail]. Within the central space, chopped up silhouettes allude to armed soldiers. At the space’s highest point, an iron curtain alludes to the street and its concrete presence. It opens and closes on an interior horizontal under glass, which makes a connection between the inside and the outside. It anticipates the cross’s presence. At the center, a backdrop of violet, the color of the secret, establishes the spiritual transfusion between the red of the passion and celestial blue. Charcoal traces black rays of light that diffuse the aura of Christ. Rome is established within the work by the vertical base and slab of white marble, the butcher’s block or the cold room. A balustrade frieze borders the base and evokes the “balcony” of the trial. On the floor, heavy spiked chains reference the crown of thorns and draw the fatal chain of events to a conclusion.