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Brief info

BIOGRAPHY

Saleha El Masry is an art critic and visual artist born in Cairo. Currently Director of Bab Selim Gallery at the Museum of Modern Art, Visual Arts Sector, Ministry of Culture, she has been an insightful observer of the Egyptian visual art movement since her graduation. A potter who loves the history of ancient civilizations in general and Egyptian civilization in particular, she attempts to blend the arts of these civilizations in her works, emphasizing Egyptian identity and her connection, as an artist, to ancient Egyptian history, from the Pre-dynastic Era through the Old Kingdom, the Middle Kingdom, and the New Kingdom. Her ceramic works take particular inspiration from the pre-dynastic civilizations such as Beni Salama, Deir Tasa, Badari, Naqada with its three stages, and Maadi. She then adapts the symbols of ancient scripts such as ancient Egyptian, cuneiform, Sassanian, Sumerian, Akkadian, and Aramaic to aesthetically enrich the surface of her pottery. These scripts are not intended to have a literal meaning, but rather to express the aesthetic form of the letter or symbol. She has participated in numerous solo and group art exhibitions, aiming through her works to connect the ancient past with the present and highlight the aesthetics of language and symbolism in contemporary art.

CONCEPT

‘Ma’at is a symbol of truth, justice, cosmic order, righteousness, and honesty. Ma’at embodies the principles that govern the universe and the balance between chaos and order and is considered a moral compass for social and religious life. Through this work, I transform a “ring” attributed to one of the kings of ancient Egypt from a small relic worn and used as a seal for documents into a public architectural monument, from personal property to a shared space, and from a sign of authority that tightens restrictions to a lens that opens onto a wider horizon. The work takes the form of a large ring, its circle forming an opening through which the top of the pyramid standing in the background is visible. The circle becomes a window that frames time, making the past visible in the present. I inscribed the surface of the ring with phrases from the Book of the Dead that revolve around dignity, bread, the scales, and justice, the core beliefs the ancient Egyptians held as rights for all people, but especially the powerless. Here, the ring transforms from a seal that commands a covenant. The inscriptions include:

I will not deprive the poor of their possessions. You will not be poor, you will not be miserable, and poverty will not bend you. Be kind to the needy. Do not differentiate the son of a rich man from the common man.

Do not strip the poor of their possessions. There are no hungry people in my age.

I have given bread to the hunger. With this transformation, the work aligns with Maat as the principle of balance and justice: the circle is a visual scale, and its frame equates the mass of stone with the void, presence with absence, the influence of the king with the voice of the people.’

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