Trinity

Paolo Venezolano's The Crucifixion of 1340 was the most intriguing image to me, even beyond many of my favorite modern masters to which I am normally drawn. Perhaps it is the simplicity of composition or the handling of the figures such as Mary and the woman at the foot of the cross, which reminded me of a Kathe Kollowits drawing. Or the bizarre treatments of the Angels hinting of a Goya etching that caught my eye. But I think that foremost and perhaps the most obvious reason that I choose this work is the theological implications of the imagery of Christ on the cross. The use of this image implies the significance of justification, atonement and redemption. It is by this underlying, deeper context that I find myself most engaged.

In my print I choose to expand upon these doctrines by adding additional imagery, which would further encompass another tenant of Christian Theology, the Holy Trinity. I have tried in contemporary techniques to relate images that would resonate with this most mysterious of doctrines of God the Father, God the Son, and God the Holy Spirit.