Metamorphosis: Titian 2012 – in pictures

Diana and Actaeon, by Titian (1556-59), one of the three paintings that was interpreted for the project Photograph: The National Gallery, London

The Death of Actaeon, by Titian (1559-75). The paintings are themselves artistic reworkings of an episode from Ovid's poem Metamorphoses Photograph: The National Gallery, London

Diana and Callisto, by Titian (1556-59). The three masterpieces will hang together for the first time since the 18th century Photograph: The National Gallery, London

As you enter the exhibition space, the original Titians flank a doorway beyond which lies Conrad Shawcross's Trophy (2012) – featuring a functional robot with a light at the end of its arm Photograph: Courtesy the artist and Victoria Miro Gallery, London

In Shawcross's work, the robot, Diana, moves about an antler that it – she? – has carved out of wood: the huntress examining her trophy Photograph: Courtesy the artist and Victoria Miro Gallery, London

For Mark Wallinger's Diana (2012), visitors enter a dark room, within which is a second structure: inside this, peepholes (keyholes, cracks) reveal a bathroom, where – draped in an armchair, or soaping herself in the bath, or cleaning her face at the mirror – is a naked woman Photograph: The artist, courtesy of the Anthony Reynolds Gallery

Wallinger's installation takes as its defining image the moment in Diana and Actaeon when the hunter accidentally stumbles upon the chaste goddess by her bath Photograph: The artist, courtesy of the Anthony Reynolds Gallery

Diana's vengeance is grim: she turns Actaeon into a stag, who is consumed by his own hunting dogs – painted by Titian in The Death of Actaeon. Wallinger calls the myth 'the ultimate fable about voyeurism' Photograph: The artist, courtesy of the Anthony Reynolds Gallery

Ovid – Actaeon, by Chris Ofili (2011-2012), is yet another utterly different approach Photograph: Courtesy the artist and Victoria Miro Gallery, London

Ovid – Stag, by Chris Ofili (2012). The artist transposes the classical world to the landscape of Trinidad Photograph: Courtesy the artist and Victoria Miro Gallery, London

Ovid – Bather, by Chris Ofili (2010-12). The artist draws on critic Paul Valéry's remark about Titian that 'It is obvious that, for him, to paint meant to caress' Photograph: Courtesy the artist and Victoria Miro Gallery, London

Ovid – Lust, by Chris Ofili (2011-12). The phallus represents what Ofili calls 'the male burden of desire' Photograph: Courtesy the artist and Victoria Miro Gallery, London

Ovid – Windfall, by Chris Ofili (2011-12). His works reflect his belief that sex and lust were the driving forces that led to the fates of Actaeon and Callisto Photograph: Courtesy the artist and Victoria Miro Gallery, London