Curated by: Eva Fabbris
For Mahmoud, the formal result consists of objects in their own right, distinctly sensual representations of body pieces, or natural elements that appear as “closed” forms, self-referring sculptural worlds. On the other hand, Satin fabrics are given as works that do not have a fixed and stable shape. They are surfaces of great tactile and visual quality that occupy the spaces hanging from the ceiling, clinging to the walls, leaning on found surfaces ...
Both start from the body, from the evocation of its form which results in a formal quality, almost marginal compared to how important the material nature of their works is.
The satin motifs emerge from the intertwining of the threads woven on a Jaquard loom and are barely recognizable, camouflaged by textile decor: on each drape a myriad of silhouettes of bodies are made up, repeated and superimposed in a fast pattern that could also recall movements cartoon animation, or short chronophotographic sections. But the material impact of the fabric, with its colors, the opaque-glossy play, the contradictory sense of draped weight and the impermanence of the form, precedes and dominates the recognizability of this subject.
Mahmoud follows a more surrealistic trajectory, translating passages of the female body and winking fruits into the most polished of marbles or into vaguely decadent blown glass. In a continuous play of surfaces, which also involves the supports - from time to time the sculptures rest on opaque or transparent, colored and linear bases, his sculptures play a double card of seduction: the sensuality of the subject (a language, a breast , huge cherries) is enhanced and contradicted by the cold and composed tactility of marble and glass.