Deeply conscious of the problematics of encountering and confronting the female/male body in a moment of ubiquitous objectification and rampant exposure, I have poised Trinities I-VII as a set of semi-abstract images that may, in Barthes’s memorable term, ‘connote’ deeper, gendered and sexualised metaphors. In so doing, these photographs attempt a reinterpretation of the already constituted myths and ‘signs’ that are the foundation of Western civilization. Exemplary within Christianity is the ‘sign’ of the Holy Trinity. I want to transform this fundamental myth and ‘unconceal’ (Heidegger) second- and third-order mythological strata, exposing elements that have been long suppressed by the institutional arm of the Church such as sexuality in general, femininity as an active rather than harnessed agency, the influence afforded to women historically, and the male and female body as a suppressed sacral and/or abject power.