I chose to photograph these Christs, whose carnal presence was intense, in the light that flooded them and which evoqued for me that of the Spanish golden age and the light of the Italian Caravaggios. These Christs, bloody and sublime, came in all sizes and in all colours : in wood, plaster, ivory, in silver or in gold. Sculpted by the best masters, portugese or foreign, free or enslaved, these Christs were always sublime : tortured or mutilated but always solitary and majestic. There was a sense of tragic beauty emerging from these suffering bodies and a pathetic expression which deeply affected me.
I knew that by immortalizing the Christs, it was to some extend my own wounds that I was recording on the sensitive layer of the film. To photograph this figure, when in the quest for the absolute, is to unconsciously produce a self-portrait.