Begona on Water
of the sea. In Point of No
Return, Sana���a, Yemen,
again a fully covered, traditionally clad woman
holds her son, his youthful hand pointed out towards dense urbanization
beyond iron bars. One
has the sense that the
individuals portrayed in
these photographs are in
the process of reconciling
themselves to vastly different environments than
their ancestors would
have known.
In The Roar of Nature,
a solitary, apparently
somewhat fragile camel,
head raised to the night
sky, seems a sad figure
against a backdrop of
both industrial and commercial dense development. There is, however,
both in Brother and Sister
in the Grand Mosque and
Mohammed with Butti and Aysha an aura of
HYLAND
