edited by Marianne Catzaras

Women who have come out of confined places, wounded women, blocked women. Odalisques of modernity, they hide their faces with modesty and violence that blend into one with the smooth walls of the furnishings, positioned in the photographers’ ateliers, amidst decorations and repeated geometric constructions. Women willing to undo the sneaky knit of that tradition that moves the sense of their identity. Because it is identity that we are dealing with, of identity in all its facets. And it is perhaps for this reason that the female characters of Rania Werda pose in front of their half-veiled mirrors, in pastel and bright colors. They pose surrounded by harmonious and static arabesques. These women of the past, these women of the future, pose with their skin caressed by a veil, wondering who they are today in those tomorrow obscured by retrograde and totalitarian inclinations. Choreography of semi-hidden faces in figurative and stylized scenes: Rania Werda shows us proud women who stand up and resist by saying no to stereotypes of all kinds. Lascivious as if they were drawn on calligraphic lighting, they represent all the faces of the woman who fights to recover the right to difference: that of being a Woman. With fantastic arabesques and terracotta-colored chromatic games, Rania gives us the sensuality of women, thus also underlining a possible mosaic of coexistence at the crossroads of cultures.