Chapmans’ have managed to transform the iconography of Mary and Jesus form a loving embrace to a horrific display of sacrilege. Chapmans’ are ‘attracting attention and establishing instant engagement’ (Grunenberg 2006) with the observer by crossing ‘the boundaries of morality and taste in order to achieve true insights’ (Grunenberg 2006). The artists are essentially inticing the viewer using shock tactics consequently provoking inquisition. Starting with Mary, the sin from the eyes and nose has been removed, revealing the blood sodden tissue beneath. The stitching around the face suggests that this skin belongs to someone else and has simply been attached. Perhaps this loss of identity is meant to echo the depreciation of Christianity. The exposed tissue beneath the clear skin may also be a metaphor of the seemingly perfect values of the church hiding the corruption and true selfishness of man; the idealism of christianity cannot compete with the modern way of life. Mary’s mouth has been sewn shut, maybe ceasing the big voice and power that religion once had. Baby Jesus appears perfectly normal apart from the un-Godly tentacles emerging from his mouth. Here, Champmas’ are poking at the fact that there is an inner beast inside all of us; to be sublime is a myth. The almost phallic tentacles present the child as ‘simultaneously immaculate and corrupted, sexually immature and in the full bloom of adolescence’ (Grunenberg 2006).

Grunenberg, C. (2006) Jake and Dinos Chapman: Bad art for bad people. Tate Publishing: London