Reconstructed Realities, 2025
Painting : acrylic · 120 x 100 x 0.1 cm 47.2 x 39.4 x 0 inch
CHF 1,202
1 202 CHF
One of the last works available by this artist
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Shipped from: Egypt
Delivery to: Switzerland , CHF 181
Estimated delivery: Two to three weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Unstretched (shipped rolled)
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
120 x 100 x 0.1 cm 47.2 x 39.4 x 0 inch Height x Width x Depth
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Art gallery
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Vetted seller since 2026
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Description
Reconstructed Realities explores the complex relationship between perception, structure, and the ever-changing nature of our surroundings. Intersecting geometric forms in shades of blue, grey, black, and white create a fragmented architectural landscape in which familiar structures dissolve into abstract shapes and reassemble into new configurations. Sharp angles, overlapping planes, and contrasting tones establish a dynamic interplay between order and disruption, solidity and transparency. The composition evokes the layered nature of contemporary life, where individual experiences, memories, and perspectives combine to shape our understanding of reality. Rather than presenting a fixed image of the world, the painting invites viewers to discover their own interpretations within its shifting visual structures. Painted in acrylic on canvas, this contemporary abstract work combines architectural references with geometric abstraction, creating a striking visual statement suited to modern interiors. The canvas will be carefully rolled and shipped in a protective tube.
Presentation
Mohamed Nabil is an Egyptian visual artist and Professor of Graphic Arts based in Alexandria, Egypt. His practice explores geometric abstraction as a means of investigating space, perception, and the relationship between opposing forces. Through carefully constructed compositions, he examines the tension between presence and absence, order and ambiguity, darkness and light, transforming a reduced visual vocabulary into complex spatial experiences.
Trained in graphic arts, Mohamed Nabil holds a Bachelor of Fine Arts from Minia University, a master's degree in Fine Arts, and a PhD in Fine Arts specialising in Graphic Arts. In 2024, he was appointed Professor of Graphic Arts at Mansoura University, where he also serves as Head of the Graphic Arts Department.
His artistic language is distinguished by structural precision, geometric reduction, and a sustained interest in the boundaries between the visible and the imagined. Working with acrylic and drawing on the formal discipline of graphic arts, he constructs compositions in which lines, geometric fragments, and negative space become active elements in the perception of depth, movement, and light.
Mohamed Nabil has presented his work in numerous solo and group exhibitions in Egypt and internationally. His solo exhibitions include On the Margins of the Orbit at the Museum of Modern Egyptian Art, Cairo Opera House, in 2025, Orbits at El Gezira Arts Center in 2019, and Constructive Forms at Mansoura University in 2016. His international participation includes graphic arts biennales and triennales in France, Italy, Portugal, Slovenia, Romania, Greece, and other countries.
His distinctions include the Rafea Al-Nasiri Prize for Engraving and Printmaking in 2017 and the Grand Prize at the 18th Youth Salon in 2007. His works are held in institutional collections, including the Museum of Modern Egyptian Art, Bibliotheca Alexandrina, the National Museum of Jordan, and the Castello dei Paleologi Museum of Engraving in Italy.
Alongside his artistic practice, Mohamed Nabil has contributed to contemporary art through university teaching, exhibition curation, and participation on national exhibition juries. His work brings together the analytical rigour of graphic arts and an ongoing investigation into the spatial and conceptual possibilities of abstraction.
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