Dina Sabry is an Egyptian artist whose talent was evident from the age of five. From an early stage, she was encouraged by her parents to develop her skills through courses and experimentation.
She graduated from the Faculty of Commerce and Business Administration (English Section) and spent seven years in corporate planning, rising to the position of Planning Manager.
However, as art continued to call her, she made the decisive career shift to pursue creative fulfillment full-time. Her journey reflects a deep belief in art as a vital cultural force rather than merely a profession.
Ahram Online (AO): You left your corporate career to dedicate yourself to art. Tell us more about this journey.
Dina Sabry (DS): I felt like I was rediscovering who I truly am. I immersed myself in studying art movements and their pioneers—not only to understand them, but to search for my own authentic voice.
I began painting more intensively, experimenting with materials and pushing the limits of perception. I engaged in continuous dialogue with other artists and approached exhibitions with a more analytical eye—observing how ideas are constructed through color, composition, light, and space.
Over time, this experience accumulated into a deeper visual awareness. I see it as an internal reservoir that matures slowly and eventually flows naturally onto the canvas as a personal visual language.
AO: You have participated in many exhibitions. Walk us through your most recent artistic activities.
DS: My most recent participation was in the group exhibition Duet, held at Magara Art Gallery in February. The exhibition brought together contemporary artists exploring themes of humanity, nature, and identity.
Throughout my career, I have participated in around 15 group exhibitions, including Black & White Salon, Box of the World, and Faces and Masks. I have also exhibited at venues such as Gezira Art Center, El-Hanager Arts Center, Salah Taher Gallery at Cairo Opera House, and Art Corner Gallery in Zamalek.
The best part of these events is the sense of unity—we feel like one entity, sharing experiences and culture freely and with generosity.
In addition, I have taken part in approximately 12 art symposia and forums both inside and outside Egypt, including events in Greece, Jordan, Lebanon, and Turkey. These experiences have been essential in expanding my artistic perspective and connecting with artists from diverse cultural backgrounds.
AO: What is the nature of your artistic practice? What materials and formats do you work with?
DS: I primarily work with oil and acrylic paints.
I move between small-scale canvases that invite quiet contemplation and larger works that allow for broader visual expansion and a stronger presence.
The format depends on the emotional intensity of the idea I am exploring.
AO: Tell us more about your unique connection with surrealist expressions in your work.
DS: I am deeply influenced by artists such as René Magritte, who touches me with his calm philosophy and thought-provoking surrealism; Salvador Dalí, who turned dreams into stunning visual scenes; and the Egyptian artist Abdel Hadi El-Gazzar, whose work combines symbolic depth with a strong connection to identity and human experience.
Surrealism in my work appears through composition, symbolism, and atmosphere. I create visual narratives that exist somewhere between dream and reality. I often merge unexpected or illogical elements into realistic settings—altering proportions, shifting scale, or placing objects in unfamiliar contexts.
At first glance, the scene may appear coherent, but there is always a subtle disruption of logic.
I am not interested in strangeness for its own sake. For me, surrealism lies in the quiet tension between what is visible and what is hidden—between external reality and inner emotion.
Let me add that I am also influenced by Mahmoud Said, especially his focus on the Egyptian woman: characters who exude strength and dignity, as if they were pharaonic statues with a contemporary spirit.
AO: Your work is embedded in a broader Egyptian contemporary art movement. How do you navigate your own voice and that of your generation of artists?
DS: I consider myself an emerging artist within the Egyptian art scene, working to build a distinctive voice that balances experimentation with emotional depth.
Over the past years, I have worked consistently to establish a presence through group exhibitions and artistic forums, focusing on developing both technical refinement and a clear personal vision.
At the center of my work is the human being. I see my practice as part of a contemporary artistic dialogue that connects personal expression with deeper philosophical reflection.
My paintings aim to create a visual conversation with the viewer—one that goes beyond simple observation and opens space for interpretation and shared introspection.
AO: What are your plans?
DS: I am currently preparing for my first solo exhibition. The goal is to present a cohesive body of work that clearly reflects my visual identity and explores human relationships and inner transformation more deeply.
I am particularly interested in portraying women—their emotional complexity, silent resilience, and the multiple roles they navigate in society.
Through symbolic and surreal elements, I explore the dialogue between their inner and outer worlds.
Childhood also appears in my work as a symbol of innocence and emotional truth. I believe that within every person there remains a child who sees the world with wonder. That inner child continues to guide my artistic sensibility.
Childhood is the most formative stage of identity, and its emotional transparency often finds its way into my compositions.
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