http://www.fairfieldweekly.com/gbase/News/content?oid=oid:112928Stations of Modern Persecution
Artist Gwyenth Leech models her Stations of the Cross on contemporary suffering in Iraq and around the world
by LuAnne Roy - May 26, 2005
Gwyneth Leech said she did not set out to make a political statement when she painted her Stations of the Cross for St. Paul's Episcopal Church in Norwalk. Yet her contemporary portrayal, which includes images of soldiers, machine guns and barbed wire, juxtaposed with traditional biblical scenes, has garnered a lot of attention--and not all of it favorable. What troubles people most when they first view her Stations of the Cross is not the guns and soldiers, but the contemporary setting--the fact that the paintings aren't idealized biblical figures, she said.
Leech replaced the biblical figures with images of humiliated prisoners detained in U.S. prison camps in Iraq and Guantanamo, Cuba; with images of distraught mothers around the globe--mothers who've lost sons in the war, Iraqi mothers whose sons are detained in prison camps and mothers who saw their children gunned down in Beslan, Russia. These were the images that came to Leech's mind after months of studying crucifixion iconography in art museums. The deluge of grief that Leech said surrounded her when she was first commissioned by St. Paul's to do the work in the spring of 2004.
"The humiliation of being stripped
it's the same as the crucifixion," said Leech, describing photographs she saw of the abuses at Abu Ghraib. It was then that it dawned on her that those were the images she would use to bring immediacy to the traditional Stations of the Cross.
The result was a set of 14 paintings, each of which is modeled after a traditional image of Christ's journey to the crucifixion. Leech's Stations reference each step of Christ's journey--from His being falsely arrested to His being nailed to the cross, complete with all the biblical figures he encounters along his route. The first station, which portrays Jesus' judgment before Pontius Pilate, shows Jesus (who's clad in a course red robe symbolizing the traditional attire for a Muslim man) standing between two soldiers wearing green army fatigues (which Leech says she modeled after photos of soldiers at the detention camps at the U.S. Naval Base in Guantanamo Bay). The central scene is encircled with barbed wire, while an angry, faceless mob presses around the fenced off area.
Jesus stands unjustly accused before Pontius Pilate, while an angry mob presses from behind a barbed wire fence.
Two modern soldiers stand guard as Jesus struggles to take up the cross.
Jesus stands stripped of his garments while modern soldiers threaten him with vicious dogs, a direct reference to Abu Ghraib.
Mary (portrayed as an Iraqi peasant woman) holds the body of her son Jesus after he’s taken off the cross.
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