Cry of the Whale (2016) uses Hazoumè’s iconic jerry-cans to construct a rotten boat that, breaking in two spills its human cargo into the water. Because of the way in which the stern and prow sink, the image of the jaws of a great fish can be seen about to swallow – or regurgitate – them, as in the story, known to Christians and Muslims alike, of Jonah and the Whale. The inexpressibly sad music accompanying this piece is composed of the haunting songs of whales. It suggests that the cetaceans, long understood to be intelligent creatures and known to help save drowning humans, are communicating their concern about the horrors of the scenes they witness. As the boat sinks, the men jump overboard into the water to lessen the total weight, leaving the women, children and possessions aboard for the longest time possible. There is also a reference, in the coverings “worn” by these half-in half out “swimmers”, to damask cloth – traditionally a valuable piece of silken material that refers back to the city of Damascus – long associated with the production of these highly-prized materials. Another association, of course, links to the large number of Syrians – displaced by the Syrian conflict (erupting in 2011) that saw Aleppo recaptured and devastated by Government forces in 2016, adding to the millions of displaced people fleeing to safety.