Thanks for your comment Uji.
When I started writing down my project plan it was clear that I wouldn't reveal anyone's identity for several reasons.
Prostitution is strictly illegal in Morocco and if these girls were caught by the police, they would have to go to jail. And jail isn't the worst option when it comes to honor and such abstract concepts some Moroccan people, mostly older men, still take very seriously. And as these girls were already the victims of the game I wanted to make sure there wouldn't be any negative consequences for them, vice versa, I wanted to bring up a touchy subject to raise awareness.
Secondly, I wanted to focus on the topic itself: sex tourism in Morocco and try to handle it as a whole. In a rather journalistic approach a detailed profile story would have worked just fine, however I wanted to distance my work from that and place it in the context of contemporary art. In that context the viewer may even be more likely to feel familiarity with the people in the pictures, just like you said, it's a different gaze. In the field of contemporary art the viewer can ask such questions as "Perhaps the passing of a 100 years since Matisse's work has blurred their identities?" I don't have the answer, but this is how I can challenge the viewer and to force him/her to think about the subject more, to dig deeper.
When it comes to Matisse's paintings it's important to take into account that they are paintings, not photographs. You can't really prove anyone's identity as you could if they were photographs. It's a different kind of document. Therefor I think my work is still a relevant pastiche to Matisse's paintings.