Moataz Nasr

Private Collection, London

San Gimignano, Galleria Continua, The Other Side of the Mirror, February - May 2011

This work is in very good condition. There is a very fine layer of dust lying at to the bottom of the Plexi box frame. The colours in the catalogue illustration are fairly accurate, with the backing board tending more towards a plywood colour.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Moataz Nasr is an Egyptian contemporary artist whose works defy categorisation; his subjects are often opposites - past and present, peace and war, love and hate - fusing conflicting forces to create works of art which seem precariously balanced to ignite at any point. As such, his works allude to the metaphysical premise of what is, what could have been or what could be, continually referring to aspirations being fulfilled or unmade. Nasr believes this is not so much about making the right or wrong choices, but in fact about acknowledging the existence of different paths, and the realisation of the fine line existing between option and constraint. Employing these concepts, Nasr has developed a highly expressive vocabulary drawn from a variety of inspirations, including suburban influences from Cairo, Islamic calligraphy, popular culture, socio-political affairs and Sufism. The artist’s stimuli are cumulative, leading to a multiplicity of interpretive and experiential routes.

There is a deeply transformative element inherent within Nasr’s work that articulates seminal, humanity and the human condition. Nasr often alludes to the restive political context of the Middle East, referring to the instability of society which can flip at any given time. His highly original matchstick series, which he began to develop in 2008, embodied these notions. Despite the various arrangements and colourful Islamic patterns formed, the possibility of fire and destruction is present. Another curious element within Khayameya is the usage of unusual media and the question of their material value. Here we have a precious art object that projects its own demise, as if the material itself resists imprisonment within its form.

Within Khayameya Nasr depicts traditional emblems and classical models correlating to the textile and carpet industry rooted within the legacy of the Arab world, in a composition conceived entirely of matches. These ornamentations specifically refer to those used by Cairene tentmakers to create Egyptian textiles in Khayameya. These symbols are iconic within the construction of an Arab identity by way of cultural heritage; however, they have also been used as a tool for propaganda within various Arab countries. Nasr enlightens the viewer on this basis, depicting the duality of, and the paradox attached to, a decorative sign that can also suggest an implementation of control and destruction. The use of matches, which denote the singularity and fragility of the human body, lends itself to conceptualizing the vulnerability of the individual whilst referencing the immense power in numbers. It also hints at a temporary aspect to his works, where the matches are ready to catch fire, and cinder, referring to the social and political stagnation of his surroundings. Nasr effectively creates highly original works denoting philosophical questions. His works, although alluding to the temporary, gracefully convey a bold message within a dynamic piece of contemporary art.