Sally El Zieny
Feminine innovation creates an exhilarating parallel universe, as it does not stop at the point of making female artists an observer of the human, psychological, and social phenomena, but the womanly nature makes female artists an active participant, as they interact with what they portray. Female artists attempt to create aesthetic details, even in what they refuse or deplore. In their artworks, beauty can be found even in portraying sorrow and subjugation. In other words, their masterpieces act as a magical mirror that reflects the world as if it is Heaven, rich in details. Therefore, Sally El-Zeiny, a professor in the Graphic Department at the Faculty of Fine Arts who is from Cairo and was born in 1973, has succeeded in creating a live scene out of her paintings, as they are full of aesthetic compositions with a full expansion of the visual perceptions. Moreover, they overwhelmingly offer the observer an opportunity to peacefully speculate all the particles alongside cohabitating their ever-growing interactions. El-Zeiny has been able to purify the hideousness of the world through paintings shining with an easy-going color patchwork that combines the tender expressionism with the shadows of abstraction that activates the mental processes of analysis and association. As for her artworks, all the heroines are spontaneously painted and have a predominantly child-like streak. In addition, they reflect the artist’s alignment to the Eastern heritage as much as hers to the Egyptian one.
In spite of the versatility of El-Zeiny’s themes, they are warm, in spite of their serenity, they are vibrant, and in spite of their sobriety, they are wildly bold. For example, this was clearly presented in her gallery “In The Garden” that consisted of 2 phases: The first one included a group of 60*60 cm paintings implemented on a paper canvas recycled from rice straw. It was the phase in which there was harmony in the texture, the coarseness, and the freshness of the paper combined with the emotional state of the artwork. The second phase included the reformulation of these paintings through the incorporation of literature and fine arts, or what is called “A Book of an Artist“, which is a handmade book; made, painted, and forged by the artist in only one copy or very few ones. El-Zeiny’s book consisted of a group of paintings accompanied by selected poetry written by many modern poets.
As to her painting collection entitled “The Family“, they portray the vintage representation of the Egyptian family in the 1930s. El-Zeiny modernly addresses nostalgia while keeping her own emotional signature and adding her own unique ornaments which ultimately created a thread that knits the distinctions in such a state.
El-Zeiny’s colors are characterized by moderation, as they dissociate the eyes from the squealy bold colors.
She has her own color palette, and hardly ever uses the color as it is without intervention, for instance, you can see how she creates the warm blue and the warm, unburned red. As a result, her paintings are always shining in bravery, pleasure, and courtesy.
As a butterfly flapping her wings, El-zeiny through her paintings, experiments with different materials. For example, she shifted between graphic art, book art, and painting with different media, as she used acrylic paints, ceramic markers, and watercolors including aquarelle, gouache, and ink. She also used collage, as she used snips of old clothes and papers as a background that enriches the value of the fresh communion.
Her main theme is pop culture which she tried to restore and derive inspiring modern modules in order to convey it to a world visual language, as the communal mindset produces human cadres caught up by everyone at any place at any time. In other words, she was concerned with the pop motif of the grandmothers’ storytelling, as they took part in forming her consciousness, so she developed them by abstraction and inspiration. Moreover, she added the well-known Islamic ornaments and flowers, especially the Persian miniatures, the Persian manuscripts’ paintings, and the Egyptian folk decorations. In addition, she was affected by the primitive paintings made by archaic humans on the walls of caves, as well as by the children’s paintings with their innocent spirit. This is why her creations have become a cultural mix that came out of research, awareness, and diligence.
Sally El-Zeiny held several solo private gallery exhibitions and participated in many art events inside and outside Egypt. In addition, several paintings of hers constitute part of the private collection of individuals and institutions both inside Egypt and withing the Middle East.
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