an artist in her own right. She is conscious of texture,
line, depth of field, shape, and mood.
Heather Solomon, Canadian Jewish News, Montreal Feb 1987
her images are... "outstanding for their human quality, atmosphere and sense of wonderment everyone seems to feel in Jerusalem. ... tender lovely photos.
Lawrence Sabbath, The Gazette, Montreal Jan 31, 1987
Her photographs show a poignant blend of humanity and environment."
Sally Whitner, "Pitch" Kansas City, May 29th, 1992
Almond's intriguing selection of subject matter is enhanced by her eye for texture and pattern and her responsiveness to varieties of light. She revels in the stark contrasts..."
Alice Thorson, The Kansas City Star, May 17th, 1992
Armenians: the result of her rare month long foray in this secretive world is a compelling series of black and white photographs. She has also captured some haunting portraits of the quarter's dwindling populations.
Ann Duncan, The Gazette, Montreal April 21, 1988.
Almond combines her sensitivities to the village people of Morocco, Algeria, Egypt, and Israel with her artistic instinct for capturing patters of light, recognizing architectural forms of drama, creating warm portraits and pointing out the beauty of simple utensils. Her ability to dignify the mundane gives the viewer a window into village lifestyles. She takes a personal approach to commonly photographed subjects. While skillful at composing shape and shadows, Almond is equally adept at closing in for personal portraits. The photographer obviously respects the village way of life and used her considerable skills to interpret it with rare dignity.
Joan Crowder, Santa Barbara News Press, March 11th, 1994
Almond travels to distant lands to capture images of native life with dignity and compassion.
Buzz weekly, Los Angeles, Feb 6th, 1997
Joan Almond's work is richly scenic. While some of her pictures are intentionally devoid of depth, transforming life into geometric abstraction, others delve into deep space but ultimately arrive as the same patterned effect.
Henry Lehman, The Gazette, Montreal, Sept 18th 1999.
The photographic images of Joan Almond maintain an exceptional sobriety of form and treatment. In her conscious manner of rendering cultural description, Almond's images aim to symbolize the fullness of rural life as experienced in the traditional societies to which she has traveled.
The Past in the Present, Roberto Tejada 1997
Jerusalem: All of Almond's works offers a humanistic view of everyday life of an extraordinary city...
JUF news, Jan 1984
Her Jerusalem exhibition: "accomplished a serious artistic triumph. She is an artist who is never separated from history. Viewing her work is an intellectual and emotional experience. Her works... are the result of deliberate creative outbursts. The viewer has no difficulty in perceiving her intention, her joy and sadness and celebration. This is, of course, a matter of serious talent. The encouraging aspect of Joan Almond's complexity is its accessibility. Her photos render the spiritual as well as physical existence of her subject. In each work the fusion of past and present awakens a sudden historical consciousness within the viewer.
Agop Hacykian, Ararat, Winter 1989.
There is a special humanness and sensitivity that shine through the work of Joan Almond. The camera reveals the commonalities behind communities that prize their independence and differences.
Vivien Snead, Camera Canada Winter 1987
"The Indians are like banyan trees" says Joan Almond after
spending six weeks in an India which many of us see only in
pictures. "Each of them is different in texture and form,
yet so firmly grounded to the earth." Joan has seen them
with three eyes - her own two, and that of her camera, which
like a third eye has helped her see the life that binds the
pictures that which escapes the untrained eye unable to
pierce the surface, go beyond the title.