"卧卧的Odalisque"是他系列中最安静的照片之一。没有畏缩的奴隶或狡猾的苏丹，没有音乐或舞蹈，很少有舞台道具，没有叙事故事。odalisque就在那里，一个漂浮在黑暗中的视觉：维多利亚时代对异国情调和色情的迷恋的精致体现。她懒洋洋地躺在铺着一层层地毯的深色枕头上;她赤脚，但戴着金币;她穿着宽松的图案哈伦裤，上衣完全解开纽扣，露出薄纱下面一丝裸露的乳房。 她抚摸着一个翘起的高脚杯鼓，一个镶嵌着珍珠母贝的达拉布克，她从阴影中看着我们，以一种旨在激起西方想象力的方式微妙地挑衅。

"Reclining Odalisque" is among the quietest pictures in his series. There are no cowering slaves or leering sultans, no music or dancing, few stage props, no narrative tale. The odalisque is simply there, a vision floating in darkness: the exquisite embodiment of Victorian fascination with the exotic and the erotic. She lies languorously on dark pillows set on layers of carpet; she is barefoot but crowned with golden coins; she wears loose-fitting, patterned harem pants and a blouse fully unbuttoned to reveal a hint of bare breast below gossamer. She caresses an upturned goblet drum, a phallic darabukke inlaid with mother-of-pearl, and she looks at us from the shadows, subtly provocative in a way calculated to stir the Western imagination.