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William Hundley  - Mexico, 2013

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Shoreline | Stephanie Hall by Ilaria Orsini

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Alas! a woman that attempts the pen, Such a presumptuous creature is esteemed, The fault can by no virtue be redeemed. They tell us we mistake our sex and way; Good breeding, fashion, dancing, dressing, play, Are the accomplishments we should desire; To write, or read, or think, or to inquire, Would cloud our beauty, and exhaust our time, And interrupt the conquests of our prime, Whilst the dull manage of a servile house Is held by some our utmost art and use.

By Lady Winchilsea who was born in 1661. Found in 'A Room of One's Own' by Virginia Woolf

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Kay Francis in Mandalay, 1934

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Juhayna Cheering Egyptian Mothers 2014 TVC - إعلان جهينه بنشجع أمهات مصر (Long) (by Juhayna JUFO)

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Sponsored by Pepsi

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Photograper – Joseph Alexander Model – Eromomen Stylist – Christine Clauson Make-up – Lena w/ Sokora Vora

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Dardasha - Chit-chat

Four stories of migration to the UK by Moroccan women.

Directed and edited by Alan Stepney.

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DIS Magazine - Migrating Forms at BAMcinématek

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Kesh Angels (motorbike girl gangs in Morocco) by Hassan Hajjaj, 2000-2010

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Head-dress by Maiko Takeda

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Maïmouna Patrizia Guerresi 

As a photographer, sculptor, and installation artist, ‘Maïmouna’ Patrizia Guerresi reveals unique and authentic sensibilities in her narration of the beauty and subtleties of racial diversity and multiculturalism. Over an established career, she has developed her own symbolism, which combines cosmological and ancestral traditions belonging to various European, African, and Asian cultures. Her personal commitment to Baifall Sufism has led her to produce an aesthetic that is able to bridge time, space and civilisations, as well as figuration and abstraction.

The human body is seen as the nucleus and temple of the soul, a place that houses a delicate, higher awareness; the very conduit for encompassing natural and cosmic forces. More about mysticism than any singular religion, her work is visionary in that it restores those elusive qualities of sacredness and unity in our frequently dehumanising and fragmented contemporary visual world. Her classic iconographic style explores the universality of human experience and reclaims the often hidden nurturing powers of feminine energy. Presented as a kind of free flowing epic, the viewer is left to read the significance of her imagery and quietly meditate on its potential to personally engage with its audience. As if her figures were speaking directly to each one of us.

From her earliest experiments with the physicality and archetypal imprinting of the psyche, through to her latest, evermore metaphoric ‘inner constellations’, Maïmouna insists on a cross-cultural discourse and an expansion of the boundaries that normally dictate our individual attitudes. She invites us to see further and to look deeper – past skin colour, preconceptions, and ethnic landscapes – into the wider paradigm of inclusion. She leads us through apparently simple notions of dimensionality into the exquisite, mystical and fragile complexities of life from within. - Rosa Maria Falvo,