The Pietà series is viewed as "dreamlike pictorializations of the adult in contact with the primal phases of development." Oremland views the sculptural mergings and blurrings of the figures as both "inside" and "outside" of the artist, a variation of Winnicott's transitional space. As a "return to, reunion, and union with the mother," they encompass, and encapsulate as well, the Christian ethos of rebirth. The article is illustrated with photographs of the artworks under discussion.