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Lot Essay
Born in Cairo in 1925, Gazbia Sirry was one of the most influential Egyptian artists of the 20th century. Her long and prolific career stands as a reflection of her lived experiences in Egypt, interwoven with the country’s political shifts, urban transformations, and social dynamics. Whether addressing themes of personal freedom, collective struggle, or the evolving fabric of Cairo, Sirry’s work consistently sought to capture the emotional and psychological realities of Egyptian life.
Educated in Egypt and later in Europe, Sirry developed a distinct visual language that harmonised international modernist influences with her own deep-rooted cultural identity. The resulting style was not only intellectually rigorous but also deeply personal, a synthesis of global techniques and local spirit.
The present work comes from the former collection of Finnish diplomats Jukka and Marjatta Nevakivi, who lived near Sirry’s studio in Cairo. It is an early and exceptional example of Sirry’s geometric abstraction, marking a turning point in her artistic evolution. First exhibited at her debut solo show in London at the Zaydler Gallery in 1968, this composition focuses on the Cairene cityscape, rendered through a dense accumulation of stacked, cube-like forms. These architectural shapes evoke the compact, layered housing structures of Cairo, symbolising both physical density and social complexity.
Sirry’s canvas is visually divided, suggesting a contrast between two temporal or spatial realms, perhaps day and night, or two urban realities. On one side, stark white cubic forms appear isolated, less crowded, and almost sterile, possibly representing a gated community or an idealised urban vision. In contrast, the opposing section is painted against a black background and features a much tighter configuration of vibrant, colourful forms, evoking the bustling, lived-in vitality of everyday Cairo. This portion appears to encroach upon the white section, a gesture that hints at urban expansion, resistance, or convergence.
Sirry’s technique in this work is also notable for its textural experimentation. She applies methods derived from her study of lithography, particularly scraping and scratching into the black surfaces, creating a tactile richness that she would later expand upon in her celebrated Desert Series.
A rare and significant example from her early abstract period, this work captures both the aesthetic innovation and socio-political consciousness that define Gazbia Sirry’s legacy.
Educated in Egypt and later in Europe, Sirry developed a distinct visual language that harmonised international modernist influences with her own deep-rooted cultural identity. The resulting style was not only intellectually rigorous but also deeply personal, a synthesis of global techniques and local spirit.
The present work comes from the former collection of Finnish diplomats Jukka and Marjatta Nevakivi, who lived near Sirry’s studio in Cairo. It is an early and exceptional example of Sirry’s geometric abstraction, marking a turning point in her artistic evolution. First exhibited at her debut solo show in London at the Zaydler Gallery in 1968, this composition focuses on the Cairene cityscape, rendered through a dense accumulation of stacked, cube-like forms. These architectural shapes evoke the compact, layered housing structures of Cairo, symbolising both physical density and social complexity.
Sirry’s canvas is visually divided, suggesting a contrast between two temporal or spatial realms, perhaps day and night, or two urban realities. On one side, stark white cubic forms appear isolated, less crowded, and almost sterile, possibly representing a gated community or an idealised urban vision. In contrast, the opposing section is painted against a black background and features a much tighter configuration of vibrant, colourful forms, evoking the bustling, lived-in vitality of everyday Cairo. This portion appears to encroach upon the white section, a gesture that hints at urban expansion, resistance, or convergence.
Sirry’s technique in this work is also notable for its textural experimentation. She applies methods derived from her study of lithography, particularly scraping and scratching into the black surfaces, creating a tactile richness that she would later expand upon in her celebrated Desert Series.
A rare and significant example from her early abstract period, this work captures both the aesthetic innovation and socio-political consciousness that define Gazbia Sirry’s legacy.