In Baya Mahieddine’s works, the woman is always the focal point. There aren’t any male figures in her paintings. There are some works where you have a female with an infant. But then again, that’s an extension of the woman herself. Baya was born in 1931 and orphaned when she was around five or six years old. She was then raised by her grandmother. Later on, she was adopted by the French intellectual Marguerite Camina Benhoura. It was after seeing Baya drawing and painting in the mud, and making clay figures while her grandmother was working in the garden, that Benhoura adopted her and nurtured that talent. Benhoura had a huge impact on Baya’s life. She was a painter herself, This story is from Kinfolk Issue Forty-One Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.