I think ecology is somewhat of an art

How do you describe your style as an artist? 

I would say I am trying to develop my own style. If you look at my work, especially my paintings, I usually work in a realistic style, almost hyper-realism, but it is not a style that is unique to me at all. I like to say that I am not a camera, so I need to steer away from realism and its goal, therefore I am trying to venture into surrealism or artificial realism, which was coined by George Condo, one of my favourite painters.

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Are there specific elements that you prioritise in your creative process? 

Yes. For a photograph, I think my choice of a ‘mundane’ subject matter creates an element of surprise which is amplified by high contrast and negative space. In terms of colour choice, I often find myself grey-scaling my photos because I sometimes find that colour can distract from the form I am trying to take apart and understand in my image. With my paintings, I almost always work on wood that was going to get thrown away, and I sand it down myself. I find it sustainable and it’s a texture that I can control. I enjoy the look of a realistic black-and-white painting, set against a background that's unexpectedly lively. Size is also important; making huge paintings makes you feel small as an artist and as a viewer.

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I am not a camera, so I need to steer away from realism and its goal

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What did you think about the exhibition?

I had an impression that it would consist mostly of ancient artefacts that have been retrieved and more art history-related things. But I was pleasantly surprised, especially when I noticed that the artists were mostly Egyptian.

I was especially moved by Mona Marzouk’s work. However, it was set against a backdrop of ancient artefacts that I personally don’t believe should be in Europe. It is common for non-Arabs to instantly associate Egyptian citizens with the ancient Egyptian civilization. Think ‘Dance like an Egyptian’ etc. So, to be honest, I don’t think that it’s necessary to curate this amazing show presenting all this great artwork by Egyptian people, then have the artefacts riddled in between the different rooms. Obviously, Alexandria has a very significant and symbolic history, but I felt that this pushes a certain narrative about Egyptians. I love the representation of Egyptian artists as a North African POC, but it could have been a stand-alone show without those artefacts.

Nonetheless, the diversity and style of the artists represented were incredibly vast, I loved it.

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Were there other pieces or artists that you connected with? 

Domestic Tourism I by Maha Maamoun. It was a photograph that showed people at the beach, playing. It made me feel nostalgic for Egypt, my home country. The title also made me think of Egypt’s economic situation; domestic tourism, these days, in my opinion, is very controlled by the upper classes. I thought her work was a good ode to the beauty that Egypt has to offer us. At least that is what I took out of it. I also liked the Water Arm series by Jumana Manna; despite obvious differences in the plights both peoples face on the daily, I thought the installation was a simple way to portray the pressing ecological issues in Alexandria and in Palestine.

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Making huge paintings makes you feel small as an artist

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Can you describe the link between your work as an artist and your academic career as an ecologist? 

I think that ecology is somewhat of an art. It’s based on the concept that everything, living and non-living things, urban, man-made or not, is interconnected and I find that poetic. To be able to identify things in the outdoors, I started taking pictures of my surroundings. These pictures became like memories, a massive collection of tiny creatures, mushrooms, plants, etc. In a way, the photos are a reminder for me that we are always connected to something or someone. When I feel alone, I like the thought that there is probably a bug or some form of life somewhere nearby living in the same moment I am. 

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@salmium