Marco Iannaccone felt crucified, and this discomfort led to the photograph of his crucifixion. Later, in the drawers of an elderly aunt, the artist came across holy pictures he had seen as a child, and he wanted to photographically reproduce these images, revisiting them in a modern and even ironic way. He deliberately placed great importance on the religious symbolism that accompanies the iconography of saints and Madonnas, and above all, he wanted to preserve the oval of light within which their faces stand out. Hence the presence of stylized crosses, the crowns of thorns of Christ's Passion, the lilies symbolizing purity in the photograph of Saint Maria Goretti, and so on. The common thread, however, in the reproduced images is the modern reinterpretation of the lives of the saints and their martyrdom, captured in the context of everyday life and current issues. For example, the Madonna is portrayed outside on a balcony in a working-class neighborhood of Naples, with streets full of cars; Pieta is depicted in the kitchen of the house (because so many family dramas unfold within the walls of the home); the dismissal letter from this nonexistent saint: San Precario, in the throes of his desperation. Marco Iannaccone has depicted in his photographs the violent and painful martyrdoms that the saints have suffered, but his modern interpretation opens up to the new daily violence we all suffer, especially on a psychological level, even if we are not saints.