Jesus 2017

Curator: This is "Jesus," a 2017 portrait rendered with colored pencil by Gazmend Freitag. What are your initial impressions? Editor: There’s something striking about its directness. The portrait confronts you immediately with these very pale blue eyes amidst a reddish, almost earthy, palette. It's quite raw. Curator: The texture achieved with colored pencils is critical here. Notice how Freitag allows the strokes to build up layers, particularly in the beard and hair, giving the figure a tactile presence. One might also read it as Freitag exploring a type of production resisting traditional portraiture techniques. Editor: Precisely. I’m also interested in how the artist seems to purposefully avoid photorealism. The slight asymmetry in the facial features, the visible pencil strokes—they contribute to a feeling of vulnerability. The lines themselves denote structure, almost mapping his face with colors. Curator: Consider the societal implications; portraying Jesus with such starkness avoids idealization, grounding the divine in human imperfection, a revolutionary act in some circles. What implications might arise from such raw depiction, what impact might this make on those who identify as Christian? Editor: That's fascinating. Perhaps by stripping away the layers of idealization, Freitag compels the viewer to engage with the figure on a more intimate, human level. It allows you to look *into* his eyes, searching for signs that speak of the spirit. Curator: Freitag may use common material to re-evaluate expectations around a religious figure who in principle resisted social hierarchy. The artist is giving us a modern view to a messiah from antiquity. Editor: Ultimately, this work showcases how form and technique can converge to shape meaning and provoke deeply personal encounters. Curator: Indeed, it invites reflection on not only the portrayed subject, but on the very means by which we approach and consume images of faith and power.