Transfigure Photography ethos is to find the converging line between the world of film, fine art and commercial photography and bound all those agents together to cook up a dream and add it to a reality. I work with an idea, visualise it and create it. Transfigure Photography says as much about me than the name denotes. I have metamorphosed myself from a snapshot photographer to a professional photographer, photographing many different subjects, from seascapes, portraiture, to monster dump trucks.

Photography for me is walking hand in hand with film making, converging the demand for creative exploration and pushing the boundaries in liberating client’s realities to give their photo shoot a new perspective digitally.


I just don’t use my camera to take photographs I work, blend and arouse, still and moving images.

I'm available for commissioned work.

Please correct form

required *

Judith and Holopherne statues

Judith and Holopherne statues

During the Italian Renaissance, Judith was constantly invoked in the arts to ward off a double threat: that of the Turks on the outside and that of the tyrant within. Thus, at the end of the 15th century, the tomb of the Doge Andrea Sellmin, realized by Tullio Lombardo, is adorned with a triumphant Judith holding the head of Holopherne. [figure 1] Judith and Holopherne statues are born.

tomb of the Doge Andrea Sellmin, realized by Tullio Lombardo

[Figure 1] tomb of the Doge Andrea Sellmin, realized by Tullio Lombardo

Also in the fifteenth century, the sculpture Judith and Holopherne of Donatello, where one sees the heroine, sword raised, ready to cut off the head, is considered an allegory of freedom defending Florence. [figure 1] The Medici appropriated the figure of Judith in their turn in 1466 by adding an inscription on the pedestal of the statue of Donatello in order to celebrate a victory of Peter de Medici. Moreover, the statue trôna for a time at the Palazzo Vecchio, heart of the city; before being replaced by that of David.

Sculpture Judith and Holopherne by Donatello

[Figure 2] Sculpture Judith and Holopherne by Donatello

While the painters of the eighteenth century had somewhat forgotten the Judith and Holophernes stories, those of the nineteenth rediscover it. Dominatrix, a martyr of men until the nineteenth century, the image of Judith changes at the end of the century.

The old paintings benefit from a rediscovery. Or rather, some writers recognize in the images of the myth something of themselves. Deprived of its religious aspect, Judith gradually becomes one of the archetypes of the seductress, the femme fatale. She is a saint who is perverted, the one who seduces, who yields to the advances of the enemy to better deceive him.

Thus, Judith of Allori inspired Tourgueniev who created a heroine in Judith image in Les Eaux printganières [figure 3]. Gérard Gavarry also refers to Judith for the writing of one of his works: “One of the Judith of Cristofano Allori, a picture whose image constantly encountered at the end of December will fill my desk … throughout the six years that will take me writing Hop there! one two Three. Nothing here but a butcher […] but more than the sweetening / sublimation of the scene, strikes me the ambiguous, not to say perverse aspect of the Heroine.

Les Eaux pringanières

Les Eaux pringanières

Some early painters, such as Allori or Domenichino, had long anticipated the shift in nineteenth-century literature. As such, the Judith and Holofernes of Horace Vernet (1829) will shock more than one commentator. Thus, when the painting was exhibited at the Salon of 1831, several newspapers reacted. For Le Constitutionnel, “the Judith de Vernet is absolutely not biblical,” while Le Journal des Debats reproaches the painter for having reduced the subject “to dimensions too mundane and even romantic. […]”

Leave a reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

UA-61820204-1