The adopter, Nicholas Holliday, writes:

I found this photograph interesting and was particularly intrigued by the "body-as-still-life" aspects of it. Dave was most gracious throughout the adoption process, and his generous comments about his process and history gave the work additional resonance and depth. He also provided some helpful context, positioning the piece in his body of work. When the photograph actually arrived, I discovered that it is a beautiful, exquisitely-made object in itself.

The artist, David Krueger, writes:

I'll try and describe the genesis of this body of work.
Nick inquired directly after Rob adopted the first print. We had very nice exchanges about religion iconography -which continue-and the tenacious grip of images burned into the mind in youth.
Having been raised Catholic, i mentioned the very early memory of being told that other people had driven nails thru this man's hands and feet and posted him up on a cross to die. It's really a horrible image to convey to a child about people and the world. i don't believe a child can grasp the "dying for our sins" thing. When the terror of people nailing other folks to crosses is embedded in an innocent's head, the idea of redemption can't be much more than an obsessive groveling to avoid crucifixion. In nearly all my religious work, the cross is absent, partly to make more room for imagining things other than suffering-as the viewer likely would here- and partly because if i use the cross at all it reflects my experience as a perverse icon of manipulation. Again this comes from an adult digestion of childhood experience.

Having said all that, this body of work was personally therapeutic. Sparked intitially by John Cardinal O'Connor's simian response to AIDS as well as the cheap shock and lazy dismissal of 'Piss Christ'.

Nick has written very beautiful descriptions of his experience of the piece and it feeds my intent to get more of this work out and seen. I am very grateful that he contacted me.