Three, 1984, demonstrating the riot of colour that erupted in their works of the 1980s, comes from a series of photos depicting young men in staged, theatrical poses, casting them as ‘living sculptures’. These three East End youths are poignantly and hauntingly depicted in a classical arrangement. George explained that these photo-portraits were meant to counter negative stereotypes, particularly of an art world who “couldn’t handle works of modern art showing young people from neighbourhoods where they themselves didn’t want to live, where they wouldn’t even choose to go.” Gilbert professed, “When using models, we devoted all our power to making them totally beautiful.”