The photographic triptych TWA presents a situation and its antithesis: the three figures with their faces covered (not veiled but rather wearing a type of sack with slits/circles for seeing) were processed from a press photograph printed in Time Magazine portraying two of the hijackers of the American airline’s plane in 1985 attending a press conference at the Beirut airport and in other situations. They are exposed yet concealed, seeing yet invisible. In their decision to appear thus before a battery of journalists, the hijackers are distorted a-priori in a manner that reinforces their status as "monsters". Standing there with the intent of generating a media act, a moment, they evolve into a menacing inhuman form. Their words will be forgotten but not their appearance, their act. Their mouths are sealed, and anyway —no one is listening to them but merely observing in horror.
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