Richard Manderson first created a series of small raspberry fondant filled chocolate Jesuses that were sold for consumption to visitors of Gorman House Arts Centre in Canberra, an Australian cultural centre and heritage site that runs theatres, workshops, exhibition space, artists' studios, offices and a café.

When a US newspaper condemned his act of depicting Jesus on a chocolate, Manderson decided in answer to create an actual life-size chocolate Jesus he called Trans-substantiation 2. He did so by filling a plaster mold with fifty-five pounds of melted chocolate. He used chocolate-dipped strings for hair and plastic Easter wrap for a loincloth. Manderson's work was exhibited in public around Easter in 1994, with Manderson inviting the public to come and eat his chocolate Jesus work after the exhibition.

Here we have an article which brings both extremes of existence together—the symbol of death is used to rest the babe who has just begun life—birth and death are mentally associated upon contemplating this peculiar outcome of man's mind. Whether intended to impress the growing child with the nearness of death, and to demand a due reverence for the future state of man, or whether merely the result of a morbid desire to connect the mind continually with the undertaker, I cannot venture to say; although it must be admitted that the cross fixed at the head of this curious cradle substantiates the supposition that a religious idea prompted its construction. The bells, which tinkle upon occasions when the cradle is being rocked, seem to point to the wish on the parents' part to comfort the little darling of humanity destined to occupy this coffin-cradle.