My Last Supper
In “My Last Supper” – Marquez’s personal interpretation of Davinci’s “The Last Supper” – she has documented thirteen different versions of herself interacting with one another, some of whom are intentionally sexualized.
Appearing as a “behind-the-scenes” view of the creation of the “My Last Supper” photograph, the video utilizes over 2,500 photographs taken in a two month period in her studio in Madrid. Marquez dutifully altered each still to create the video; carefully, directing, choregraphing, and composing each still for the video.
Marquez began by carefully selecting and creating the characters for the final photo, some of whom are from previous projects. Once finalized, she wrote a script for each character and developed the connections between all of them.
As in her previous works, Marquez is the auteur who directs, shoots, and stars in the piece. Switching between roles behind the camera and in front of the camera she divides herself both physically and psychologically.
As a child, Marquez recalls spending many afternoons looking at a reproduction of “The Last Supper” on the wall of her home imagining what was happening at the table, only to be further intrigued when her devout Christian mother explained that the painting depicted Jesus’ last supper.
Revisiting this ingrained image, Marquez reinterprets Davinci’s “The Last Supper” and makes it her own by reconstructing her own narrative by replacing Jesus and his disciples with her many alter egos.
Appearing as a “behind-the-scenes” view of the creation of the “My Last Supper” photograph, the video utilizes over 2,500 photographs taken in a two month period in her studio in Madrid. Marquez dutifully altered each still to create the video; carefully, directing, choregraphing, and composing each still for the video.
Marquez began by carefully selecting and creating the characters for the final photo, some of whom are from previous projects. Once finalized, she wrote a script for each character and developed the connections between all of them.
As in her previous works, Marquez is the auteur who directs, shoots, and stars in the piece. Switching between roles behind the camera and in front of the camera she divides herself both physically and psychologically.
As a child, Marquez recalls spending many afternoons looking at a reproduction of “The Last Supper” on the wall of her home imagining what was happening at the table, only to be further intrigued when her devout Christian mother explained that the painting depicted Jesus’ last supper.
Revisiting this ingrained image, Marquez reinterprets Davinci’s “The Last Supper” and makes it her own by reconstructing her own narrative by replacing Jesus and his disciples with her many alter egos.
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