But these photographs are not simply presented to us as crass or fickle consumer items that serve to abusively constrain women. Neither are they presented as essential products that every woman simply must have, or at one point ought to have had. As unswervingly focused as the work is, Objects of Beauty defies obvious, easy, or indeed, comfortable readings. But there can be no doubt in the mind of the viewer that each of these photographic frames carries with it a critical narrative. Through these images, Gregory offers the view that there is no such thing as an object of beauty that can exist in its own culturally and politically decontextualised space.
Every object is saturated with meaning.
Meanwhile, Addela Khan's photographs create critical yet respectful personal dialogues between herself and her cultural and religious heritage. Whilst critically mapping out a space for herself, Khan challenges the present relentless vilification of Islam by literally placing herself at the centre of potent yet beautiful religious imagery and symbolism. Being pulled by Islam one way and being pulled by secularism another. Khan's photographs show us that she has no time for such bogus and lazy dichotomies, and that her identity is much more complex than that. Much more resolved than that.