In the story of Abraham and the three angels, there is an emphasis on the humanity and greatness of the great patriarch. According to the Midrash, God was revealed to Abraham, and having mercy on him, “took the sun out of its protective sheath”, so the heat would deter unwanted visitors, robbers and bandits from his residential area, because he had to recover from his earlier circumcision. At noon, while sitting at the entrance of his tent three mysterious transients arrive. Abraham, although frightened, runs towards them, in spite of his feeble condition. First, Abraham is suspect of their intentions, since he is experienced battling the surrounding people over issues such as water and livestock. When it becomes clear there is no danger, he bows towards the guests and invites them to enter his tent. He washes their feet immediately, as was e common practice among the people that inhabited the area during that period and then spread a table, offering them the best he could. Abraham’s portrait in Cohen’s photograph focuses on this gesture, the attitude expressing a largess that was characteristic of Abraham in the biblical story.
In the first panoramic artwork, Abraham’s Tent, Cohen structured a staged scene that represents the washing of the feet of the angel Michael, while emphasizing the human grace involved in this action. Cohen focuses on structuring the scene as written in the Scriptures and describes the biblical desert inhabitants. In this work, the angels sit as described in Jewish mythology and prayers based on those stories (e.g., “To my right Michael and to my left Gabriel, in front of me Uriel and behind me Raphael, and over my head God’s Shekhinah [“the presence of God”]” – From the Kriat Shema, prayer recited before the Shema when going to sleep).
Two other important figures are represented in this photograph. First, there is Sarah, hidden inside the tent, her face partially shown when she hears she will soon bore a son. Present as well is the thirteen year old Ishmael, also in pain due to the circumcision, looking out at the scene while being set apart, suggesting the dissimilitude and oddness of this son, which will reach their culmination during the following stages of the story. The sunlight, bursting through the top of the acacia tree, unites all the figures in this photographic work. They are bound together under a single light, the Divine light that demonstrates the idea “over my head God’s Shekhinah” and expresses a closure through Cohen’s camera lens.
Another work displayed at the exhibition is a variation on James Tissot’s Abraham and the Three Angels (1897). In this scene, Abraham is stretched out on the ground, in a gesture of pleading, or crying. His face is hidden, while those of the angels are exposed. In Tissot’s painting, there is some defiance towards the biblical story, as by painting the angels’ faces exposed, Tissot personifies the angels’ essence, giving them a human figure. But while in Tissot’s painting these human bodies emit light through their transparency and the whiteness of their cloths, Cohen presents dark-skin and bearded figures, as if saying that God is within each one of us, and in front of us, and we just have to look straight ahead and see.
The third panoramic work displayed at the exhibition depicts the biblical verse “and went towards Sodom” (Genesis, 18, 22). In this work, Abraham escorts the angels as they leave for their various missions – whether for destruction or for grace. According to the Midrash, only Gabriel and Raphael went to Sodom, while Michael ascended back to heaven, but Abraham does not cease his appeals for the salvation of Sodom. This work refers to Gustave Doré’s famous work, Abraham and the Three Angels (1860). In Doré’s work, the angels seem prominent with their bright skin on the dark background, and the light radiating from them falls on Abraham, sitting below them with his face hidden. Cohen represents Abraham sitting on the ground, attempting to bargain for Sodom’s salvation, while the angels go on to their destructive mission. Raphael, who ended his mission, rises back towards heaven. While in Doré’s etching the flight of the angles is expressed by a light feeling of hovering, going through their cloths’ folds, Cohen chooses to describe the angels’ flight more concretely, when they are actually seen airborne. The representation of flight is natural for Cohen, continuing his previous series of Cherubim & Angels.
This work is continued by the forth panoramic work in this exhibition, Angels, in which the three angels are represented while flying against an infinite black background. The figures in this photograph fly as a part of Cohen’s photographic worldview. In order to photograph these scenes, Cohen hired the Florentine Circus tent, and photographed the figures jumping in the air, above a giant trampoline.
Next to the three large panoramic photographs, a series of portraits of the project’s participants are also under exhibit. In the portraits’ photographs, there is an attempt to emphasize the humanity of each figure of the story, as a kind of credit roll that appears at the end of a film, representing the participating actors. In these photographs, Cohen shows his personal attitude towards this story, by humanizing these mythical figures, attempting to confront the viewer with the humanity found in each one of them.
 Quoted in “The Artist Francis Firth”, Jerusalem Quarterly, undated file, p. 56