Exodus shows us a guiding light leading the ever-silhouetted procession to finally pass out of the place of ancient mysticism and walk renewed in the living, visceral world (note: the procession enters The Trespass to the right and leaves Exodus to the left). We have been tempted, we have fallen, and by this, we have been cleansed of our ignorance and selfishness. Peace, brothers and sisters and all sentient beings, and walk with an imagination never hindered, for only choice separates it from reality.

For another experimental work involving Stonehenge, see Pink Stonehenge by Laurie Simmons. Other similar artists (of a similar photographic movement where propped toys are pantomimes of real people and objects) are Sandy Skoglund and David Levinthal. Skoglund’s A Breeze at Work (which can be seen in the book More Joy of Photography listed on the Resources page) is a truly ingenious and influential feminist piece, representing the commonplace treatment of women and the paradigm of their places in the workforce, and emblematic of her style as an artist, which is unmistakable, painstaking, and provocative. Though each employs a different style and approach with their props, Levinthal and Simmons both use toys to mimic the artificiality and superficiality of the current human standard, forcing us to conceive of ourselves as pre-packaged, mass produced figurines for the amusement and placement of a governing system. Simmons is quite famous for her handcrafted backdrops and figures, and has even designed her own toy because of her renown.

To learn more of Laurie Simmons, visit http://www.nyfa.org/level4.asp?id=112&fid=1&sid=51&tid=167.

To learn more of Sandy Skoglund, visit http://www.sandyskoglund.com/.

To learn more about David Levinthal, visit http://www.davidlevinthal.com/.