Amnon has interpreted the Last Supper twice, after two very different artists. This work follows Gustave Doré rather than Leonardo da Vinci: not the frozen instant of the accusation across a long table, but the engraver’s darker and deeper room, where light gathers at the centre and lets the rest recede. Carved in wood at 207 by 275 centimeters and coated selectively in 24 karat gold with gold metallic leaves, the work gives the scene the physical presence of an object. It is the same night, told by a different hand.
