Desiree Dolron’s monograph, published by Terra Lannoo in 2005, is a compact survey of fifteen years of work. Four series are set side by side: Gaze, a body of portraits; Exaltation, made among religious gatherings in India and Pakistan; Xteriors, a narrative sequence whose atmosphere hovers between the staged and the unexplained; and Te di todos mis sueños, the artist’s impressions of contemporary Cuba, alluring and disquieting at once.

The sequence is the argument. Read together, reportage, portraiture and constructed image stop looking like separate careers and begin to resemble a single temperament: a persistent attention to devotion, beauty and unease, and to the photograph as the place where those states meet. Dolron moves between them without apologising for the shifts in register, and the book’s arrangement lets a reader register the friction as well as the continuity.

Charlotte Cotton’s essay prefaces the series, and Wim van Sinderen’s interview gives Dolron her own voice in the volume, which also carries Fotomuseum Den Haag as an institutional contributor. That pairing matters. A reader is offered a critical frame and a working account of the pictures at the same time; the writing is not ornament here but part of the structure of a retrospective.

For a collector, the case rests on scope rather than scarcity. This is a single 156-page hardcover gathering four bodies of work from 1990 to 2005 under one cover. Later publications on the artist return to Xteriors alone; the earlier survey keeps the portraits, the religious reportage and the Cuba pictures in the same room as that series, which is precisely what makes it useful to anyone tracing how the work developed.