As one might imagine from looking at God's Mercy in particular, both of these photos are not meant to embellish the church in any way. If anything, they are meant to be critiques of the church's power (Merging of Church and Construction) and its treatment of followers (God's Mercy). Merging of Church and Construction is supposed to particularly call attention to religious involvement in government, while God's Mercy is meant to be critical of the fact that the church and religion in general controls the way its followers live their lives, sometimes down to the minute detail. Admittedly, I am very biased against religious institutions, but that bias did drive me to create these pieces of satire.
Both of the photos I am showing here I took as a sort of hopeful message in comparison to some of the photos following them which convey a somewhat depressing message. To put it bluntly, they both convey the message that nature will eventually triumph in one way or another. Even if we end up causing mass extinction as a result of our existence, the planet will ultimately survive, with humans being likely forgotten or actually learning from our history for once.
In a classic expectation vs reality duo, these two photos are meant to represent the expectations of early industrialization vs the grim reality of it. The blueprinted plans for a new building, a masterwork of engineering in Utopian Vision was likely the exact vision on the minds of the people building the great factories, but the polluted air and blackened sky of Grim Darkness of the 19th Century is what we got. Once again, Neon Glow remains one of my favorite tools to portray what I consider a semi-apocalyptic scenario.
Road to Rust is probably the photo I prefer of these two, notably because I think it has a better message, particularly since it is a variation of "The road to heck is paved with good intentions". These blueprint photos I have mostly put together with the intent to show a utopian, idealized future in which humans are industrious and assemble magnificent structures. The small bits of damage in the blueprint photo are meant to just be visible enough to show how unsustainable this idea is, as eventually the subject of the photo was abandoned and left to waste away. Rusty Propaganda, meanwhile, is perhaps one of the most blunt messages I have put into art. While particularly right-leaning politicians might hide their messages behind ideas of upholding religion (or a magnificent structure like this building once was), the damage to the building and the holes in the arguments of these politicians are easily visible to those willing to notice.
Perhaps the only break in my pattern of idealized vision vs reality in which I have used Blueprint editing for the former, Intelligent Creativity is meant to be an uplifting message, of what can truly be accomplished when rationality and creativity work in tandem to create both a fine-looking museum and art which was painstakingly put together and ultimately inhabit it. Far from some idealized utopia, Intelligent Creativity shows that rationale and creative thinking are not two forces which always remain in conflict, rather they are aspects of society that humans have constantly forced apart. Aftermath, meanwhile, is meant to show that while it is likely that these will eventually fall and/or be abandoned, the structure, the memory, still remains.