Deconstructing Media, Reconstructing Cairo
Hany Rashed
Hany Rashed by Ämr Ezzeldinn
Hany Rashed is an Egyptian artist whose work blends emotional depth and creativity. Through a journey marked by personal loss and an evolving artistic vision, Hany has become a significant figure in the contemporary art scene. His explorations in abstract art and insect imagery reflect
a deep connection with both his personal experiences and the wider world of art. Here, he discusses his path, the pivotal moments in his career, and his artistic philosophy.
Can you tell us about your upbringing, beginnings and how you discovered your talent?
I wasn’t convinced by traditional schooling, believing that reading and writing were most important. My father enrolled me in a vocational school in the electrical department. In my final year, a tragic event involving my baby sister’s death deeply impacted me. Her health struggles left me in a depressive state, which led to a colleague suggesting I work in television. I started drawing abstract art, and though I didn’t feel like an artist, people began calling me one, which confused me at the time.
Where did the idea of painting insects come from?
In 1999, I entered a phase where I painted what I loved, such as insects. I held two exhibitions at Cairo Atelier, gaining recognition for these works. I used to love watching and torturing insects as a child, but later chose to embalm them, creating little coffins like the ancient Egyptians. This phase stirred controversy when I won first place at the Youth Salon despite lacking a formal degree.
How did you manage to get your works into the most famous exhibitions in Europe?
It started with a solo exhibition where I made good sales due to my affordable prices. Catherine David, a French art producer, noticed my work and added me to a list of artists for a future exhibition. My sales impressed gallery owner Stephanie, leading to a subsequent invitation to showcase my work. I later exhibited alongside Antoni Tàpies in Barcelona, and then at the De Witt Gallery in the Netherlands, which marked my European debut.
When did you decide to diversify your artworks?
After my first exhibition, I fell into depression following my father’s death, which marked the end of my insect paintings phase. I was unsure of what to do next, until a spiritual encounter with a man in my village changed my perspective. He spoke about my sister’s strand of hair and how she gave it to me for luck. This gave me the strength to continue my journey. I returned to Meshrabeya Gallery, where I exhibited my works for the next eight years, focusing on diverse themes like sculpture.
How did your lack of formal education influence your work?
My lack of formal education allowed me to approach art with a unique, simple mindset. I didn’t feel constrained by traditional artistic norms, which allowed me to be more prolific and open-minded in my approach. I realized that anything I created could be considered art, and my focus shifted to the spirit of the work, rather than technical perfection.
