Untitled 1992

Editor: This gelatin-silver print, simply titled "Untitled," was created in 1992 by Thomas Roma. I find it incredibly moving, almost like a captured moment of raw emotion. What strikes you when you look at it? Curator: I am drawn to how the photograph highlights the materiality of faith. The backdrop, with the tapestry of the Last Supper, coupled with the preacher’s gesture and the visible emotion of the congregant, speaks volumes about the social and communal construction of belief. Consider the labor involved: the weaving of the tapestry, the crafting of the pulpit, and the very act of capturing this moment through the gelatin-silver process. How do these material aspects shape our understanding of the spiritual event? Editor: So, you're saying the photograph itself is an object that's been carefully constructed? Curator: Exactly. Roma’s choice of black and white, the silver gelatin print itself—these are conscious decisions that strip away color, focusing our attention on texture, light, and the subjects' expressions. These techniques serve to heighten the drama, almost theatricalizing the religious experience. The photo captures a performance, not just of faith but also of mourning, of communal solidarity. How do you think the socio-economic background of the subjects might influence our reading of the photograph? Editor: I hadn't considered it that way before. It's fascinating how the tangible aspects—the print itself—are inseparable from the spiritual experience being depicted. I'll definitely be thinking about the social and historical dimensions more. Curator: Precisely! Looking at art through the lens of materials, production, and social context reveals a whole new layer of meaning, urging us to question and understand the world around us.