Yesterday, after a break of almost two years, I got out my supplies and started sketching a painting of the Last Supper – I’d started it along time ago, but have been busy working on my writing. I stayed up all night and have almost finished the sketch, and let me tell you, it is incredible. It’s phenomenal on so many levels I don’t have the words – of course, its also gruesome, sickening, and blasphemous on a level that even makes me uncomfortable.

Don’t think I can look at it and laugh, the pained expression on Jesus’ face, the mystery and interaction between the guests, catches me flipping back and forth between revulsion and hilarity. I imagine it will have this effect on most people, and that’s precisely why it’s so good. Like most of my paintings, its too bizarre to be able to interpret what kind of a statement I may be making; and like all my paintings, I honestly hope I’m not making a statement.

However, some of the themes that jump out at me are the casual and distracted attitudes of the guests (or the 12 disciples) in contrast with the shocking physical abuse being suffered by Jesus. Although on the surface it screams blasphemy!, it could merely be a reminder that being a Christian isn’t something that should be forgotten at fancy dinner parties – if Christ died for our sins, then his sacrifice should be present whatever we are doing. On the other hand, there is nothing in the painting that contradicts Christianity’s theological tradition: the Eucharist is said to be Jesus Christ’s actual and physical body, given to his followers as the symbol of a new covenant. This ritual is observed in millions of churches around the world every Sunday. Even if only symbolically cannibalistic, I should think that my painting would be an affirmation of Christian values.

At any rate, it is large and detailed, and may likely be my best ever painting, my calling card, and my debut.