by Leonard Nimoy, in his Shekhina Series.

When Leonard Nimoy’s book of photography, Shekhina, was published in 2002, it created a ruckus. His depiction of alluringly            glamorous women — some wearing tefillin in all their naked glory            — as the essence of the feminine manifestation of God struck some            as revolutionary and others as salacious. To Nimoy, sexuality and spirituality are not segregated. “There            are signs throughout the writings and history of Judaism that sexuality            has always been a strong part of the teaching and culture of religious            practice.”

by Leonard Nimoy, in his Shekhina Series.

When Leonard Nimoy’s book of photography, Shekhina, was published in 2002, it created a ruckus. His depiction of alluringly glamorous women — some wearing tefillin in all their naked glory — as the essence of the feminine manifestation of God struck some as revolutionary and others as salacious. To Nimoy, sexuality and spirituality are not segregated. “There are signs throughout the writings and history of Judaism that sexuality has always been a strong part of the teaching and culture of religious practice.”