Nouzha Serroukh maintains a deeply intimate relationship with photographic images, which she first uses as a means of communication. This fusion-like bond echoes the one she had with her mother, whom she lost at a very young age, and may explain her attraction to subjects depicting motherhood and women in general. Serroukh has been attending the workshops of Créahmbxl in Brussels since 1989. She collects photographs of people she loves, of those she meets in the workshop or at her day center, and carefully dissects women’s magazines—preferably those focused on fashion and luxury—for the quality of their images. She cuts out and pastes the collected images into her diary to communicate with those around her, but also onto the wall as a support for her creative work. She fixes the photos with adhesive tape and, with a pen, systematically circles the eyes, mouth, and ears of her figures, while hair and fingers take on tentacle-like forms. Following an unchanging ritual, she selects magazines, stacks them, then holds them tightly against herself before falling asleep. She also embraces her works like “comfort objects.”