Corporeal Politics: Power, Desire, and the Sacred – Andres Serrano

Displayed on this wall are statues representing Mary and the infant Jesus, also part of the Immersions series. These figures are enveloped in a dark, mysterious atmosphere that suggests a sombre, contemplative tone. The artwork is rich in intricate textures: the surfaces of the figures are speckled with numerous bubbles and the submerged figures create the impression of being frozen. This visual effect evokes a sense of decay or ethereal suspension. The predominantly dark backdrop contrasts sharply with the bright, delicate bubbles that cover the figures, emphasising the surreal, almost ghostly nature of the scene.

Serrano reinterprets the religious imagery of his Catholic upbringing to create a new iconography – one that is not a rejection of Christianity, but rather a reimagining. An iconography of memory, belief, and history that allows religion to be viewed as something more complex than simple profanity or blasphemy.

The work on the right of the wall, titled Pietà, comes from Serrano’s Holy Works series. Since the beginning of his career, Serrano has expressed a deep admiration for Michelangelo’s Pietà, the iconic sculpture located at the entrance to St. Peter’s Basilica in Rome.

In Holy Works, Serrano explores a new visual language centred around the theme of silhouette. Inspired by the aesthetics of Renaissance art, he references Michelangelo’s Pietà directly. In his version, the central figure is not illuminated – only the background is lit – rendering Jesus’ body a stark silhouette resting on his mother’s lap after the crucifixion. This approach imbues the image with a sense of reverence and abstraction, inviting viewers to contemplate the sacred through shadow and form.