Sacred figures. Three faiths. One visual language.
Gabriel, Michael, Raphael, Uriel — four archangels shared by Christianity, Islam, and Judaism. I wanted to reconstruct them not as devotional images but as mythical presences: powerful, timeless, and deliberately modern. Each figure carries its name in three languages — Italian, Hebrew, Arabic — because these beings belong to no single tradition. They never did.
The warrior. Guido Reni's Saint Michael Defeats Satan (1636) was the direct iconographic reference — the dynamic pose, the dragon underfoot, the red drapery as symbol of divine power. The contemporary figure replaces the baroque angel, but the composition logic remains intact across four centuries.
The messenger. Between cosmic darkness and golden light — a figure suspended at the threshold between worlds. Draped in fabric that moves like scripture, composed like a fashion image and an altarpiece at once.
The healer. Softer than the others, but no less powerful. The composition holds stillness — a presence that arrives quietly and changes everything.
The light of God. The most abstract of the four — geometric, luminous, almost architectural. Where the others carry weapons or messages, Uriel carries illumination.
The same digital fresco technique as The Sovereigns — starting from a photographic study of a human figure, posed and lit for its gestural quality. Then comes the iconographic reference from Western tradition. The collage is where the two worlds meet: baroque composition logic, contemporary body, layers of texture and digital painting built entirely by hand in Photoshop.
"Four figures, three faiths, one obsession with the sacred made visible."