Atiyat el-Sayyed

Still Lives
Atiyat El-Sayyed’s latest exhibition at Khan El-Maghraby gallery brings still lifes to life
By Manal el-Jesri



EVER SEEN A chair that is not a chair? Or a duck that is not quite a duck; a garlic clove that is not a garlic clove, or a shisha that isn’t exactly a shisha? You may have seen all these creative manifestations in your imagination, or maybe in a dream. Try seeing them through the insightful eyes and caring brush of artist Atiyat El-Sayyed.




Working for years as an illustrator at Al-Gomhuriyya newspaper, El-Sayyed’s name was synonymous with her journalistic art. It was only a few years ago that a much more creative side of the artist was allowed to shine through to art lovers.


Joining her husband, son and daughter-in-law in a family group exhibition, El-Sayyed’s talents came as a revelation to many critics. Her ingenious representation of inanimate objects around her home, like her sewing machine, for example, was refreshing. After years of looking at post-modern representations in artworks that in many cases offered no connection to viewers or artists, the sheer simplicity and clarity of El-Sayyed’s works baffled and pleased.

Gentle and soft spoken, El-Sayyed exudes maternal charm. And like all good mothers, she loves her home, down to every little object in it. This is where her genius as an artist lies, and this is what is evident in her latest exhibition.

A perfect example is the collection of eid el-hone (mortars used for crushing garlic), which is probably some of the best works in this exhibition. In these works, the artist takes the mundane everyday object out of context. We see it through her special lens, which distorts the proportions and the lines, rendering them softer. They are more pronounced in some areas, and less so in others. And in so doing, the hone attains human qualities. Suddenly, you realize why this is so: The receptacle and the mortar are the archetypal male and female, receiving and giving in an endless dance of life.

The lines, on the other hand, belie the softness of the subject of male vs. female love. They are strong, sure lines. There is no hesitation there. El-Sayyed is part of the love-triangle; she becomes part of her artwork through her comfort and certainty. But then again, the colors come in to bring all El-Sayyed’s femininity and softness back into the work. In this set of paintings, El-Sayyed uses rich earth colors, with flashes of yellow or blue shining through.

In one particular work, the artist decides to play with two sets of hone. At a first glance, the viewer believes they are looking at an abstract representation of two human figures. The main color in this painting is red. You can see it in the background and in the set domineering the foreground of the painting. But another set, painted in steely cold blues and grays, is right there in the middle ground. Look at it again. It is a painting of two sets of lovers. One past and one present. One enjoying passion, the other has put passion behind. And somehow, you feel there is respect between the two, albeit some traces of animosity are felt.

Another favorite is El-Sayyed’s armchair series. Although less numerous than the hone works, the armchair paintings are just another example of this artist’s originality and familiarity with inanimate subjects. In one, there is that familiar tray that lies next to every mother’s favorite chair, replete with her cherished coffee cup. In another, here is that stack of books that she promises herself to get through next vacation.

These are not just cold depictions of an inanimate object: Her selections are soft, lived-in objects; they are loved and understood, and even respected. Her style shines through this collection, with the now familiar distorted proportions, strong lines and soft colors.

Again, a particular work takes the fancy. At the first glance, it is very difficult to tell whether this is a painting of a flower, or simply a strong and passionate abstract work. Look again. It is one of El-Sayyed’s favorite armchairs. Done in profile, the plush planes of the back and arm yearn to be used. You just want to step in and receive a hug from this magical chair. But despite the inviting lines, the colors here are strong, hot, passionate colors. We see vibrant reds and dark blues dominating the work, with the occasional flash of green or yellow.

El-Sayyed has also worked on ducks and roosters, a new subject for her. The works are interesting mainly due to her approach to lines and colors. She also tackles people, and does a few works in black and white. And time and again, she proves herself to be a master of tight composition and strong, sweeping lines. The exhibition is truly marvelous, and certainly worth a lingering visit.