Similarly, in House Away from Homeland (2014), blood red, silt black, and pine green creep into the picture. Painted at the edges of the canvas, the abstract masses seem to spill over from Risan’s 2014 work The Book of Sectarianism. At the focal point of House Away from Homeland is a warped structure composed of a lattice with fine lines. Two unclothed figures are contained by its compartments, a man entombed in the upper level of the home and the bust of a woman at the top of a staircase. Mounted on an upper corner of the house is a small satellite that sends signals to a head positioned on a table. A street grid mirroring the city plans that appear in Map (2003) and Occupied Baghdad (2007) is drawn over the bodiless character, veiling his image. This reference to Risan’s earlier works situates the figure in the Iraqi capital, where the artist lived until displaced by the war in 2006. The tar-like seepage that overcomes the city’s arteries in the books resurfaces in the paintings Ways End at the Ocean’s Edge (2014) and Cultural Difference.