The mirror-like quality is also apparent as the brothers look different ways, negotiating identity in and out of subjectivity and of the frame called Australia, as sons of a father who converted to Islam from Christianity. The tonal contrast of this screen image of the photograph emphasizes the dark/light progression as it leads the viewer’s eye back into the image according to the laws of western perspective, emerging out of the darkness; in this way Abdullah is playing with the viewer’s own perception. The Abdullah brothers emerge from the shadows’ of darkness, but not into the light of Christianity, which has symbolic connotations concerning spirituality, morality and beauty (Dyer 1997: 57-60).
While Abdul’s gaze is firm, he covers his mouth with his hand. As the prophet Mohammad said, He who is silent is saved’ (Aly 2007: xx), so perhaps this signals the desired silence of There are, moreover, included four other sets of circular Greensboro Subway Map spaces, excentric with respect to the first, each of these sets containing five spaces. The Greensboro Subway Map centers of the circles that bound them, are at A, B, C, and D. Each set, for the more easy distinguishing them from the first, are drawn with a different colour’d ink, red, blue, green, and yellow. These sets of excentric circular spaces intersect those of the concentric, and each other; and yet the numbers contained in each of the twenty excentric spaces, taken all around, make, with the central number, the same sum as those in each of the 8 concentric, viz. 360. The halves, also of those drawn from the centers A and C, taken above or below the double horizontal line, and of those drawn from centers B and D, taken to the right or left of the vertical line, do, with half the central number, make just 180.
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