Images and iconography in funerary contexts, and the ubiquity of her Phrygian name Matar (“Mother”), suggest that she was a mediator between the “boundaries of the known and unknown”: the civilized and the wild, the worlds of the living and the dead. Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness, seem to characterize her as mother of the land in its untrammeled natural state, with power to rule, moderate or soften its latent ferocity, and to control its potential threats to a settled, civilized life.
Stencils of famous walls, sprayed upon ruined houses in the refugee camps of Western Sahara. #artifariti2017
The ruins of people's houses were caused by the heavy rainfalls of 2015, where adobe brick crumbled like sugar cubes under water. Not only the housing but food and medicine were destroyed, in some cases up to 95%.
The mural of Mariem Hassan made by me in 2015 on the outside of the women's union (UNMS) in the center of Boujdour, Tindouf, Algeria, was altered with the same stencils.