Similarities Between Roberts And Juan Davila

The works of Luke Roberts and Juan Davila give an insight into two extremely different cultural identities. This analysis outlines how, within their respective oeuvres, Roberts’ Pope Alice and Archangel (1) and Davilas’ Beauty and The Beast have dealt with the notion of ‘belonging’.
Roberts is a gay contemporary Australian artist, raised in Alpha, Queensland. The artist utilises his alter egos, such as Her Divine Holiness Pope Alice, to acknowledge and parody his childhood isolation and Catholic heritage (O’Donnel, 1993). The artist combines iconography reminiscent his catholic upbringing and homosexuality throughout his work as his primary motif. The conflation of these symbols is particularly present within the photographic-performance piece

In the work, Roberts, donning the robes of a Pope, perversely splays himself beneath an archangel’s uncertain gaze, as he reaches for the angels’ genitals. The artist uses his work to ironically question ‘otherness’ and ‘Christ-consciousness’ (Berry 2005, p. 82).
Roberts has created this work as a reflection of his religious past, his sexuality and childhood alienation. Raised in a Catholic household, Roberts has stated, in conversation with Doug Hall, that he, “…attended church almost daily” and was, “…very much the ideal candidate for priesthood” (YouTube 2008). However, the artist suffered a ‘religious crisis’ whilst attending art school and coming to terms with his sexual identity (YouTube 2008). Pope Alice and Archangel (1) is a classic example of the ironic commentary on religious views presented throughout his

Pope Alice is presented as leering at the angels erection, possibly in an attempt to mock a quote associated with Michael, “Be clear about what you desire, and focus upon it with unwavering faith” (2015, p. 2).
The separation between the religious figurehead and the other subjects in the work make the Angel appear out of place. Both Roberts and the set are covered almost entirely, while the Angel is naked. This juxtaposition presents the religious figure as a personification of ‘otherness’. Perhaps referencing the childhood alienation the Roberts felt when involved with religion (REFERENCE).
Roberts has stated in a Letter to the Editor for SX magazine, Sydney, that he, “…as a downcast, unhappy, gay youth renegotiate my own spiritual connection in rejecting Christianity in the 1970s. Whilst Jesus said nothing about homosexuality (a word not coined until the mid-nineteenth century) many of his followers seem obsessed with it. Jesus did however have much to say about love one another” (Roberts 2011, p.