BRIDGE OF INSTINCT ● In Conversation with Mariam El Gendy
Athens Design Forum invites Egyptian photographer Mariam El Gendy for an in-depth feature on her personal observations – a sensory continuum where architectural structures wrought with visible labor systems, born out of improvisation, become central protagonists. In an anthropological and deeply critical approach, El Gendy deciphers a longitude of belonging where she discerns, “I’ve always felt that when a subject engages with their surroundings, they shape the image themselves.” Across sites such as playgrounds, parks, urban highways, markets, and clinics – we witness Egypt’s transcending pulse and a means to reconcile with the bridge of instinct.
Athens Design Forum, Katerina Papanikolopoulos: In the image of three boys jumping from a stone fence, architectural barriers—such as stones piled to frame a wall—seem to play a pivotal role. How do these structural elements act as both a point of departure and a precipice for movement? What attracts you to such spaces, and is there a particular story behind these images?
Mariam El Gendy: I want to answer this question by focusing on the image itself because that feels like the most natural way to communicate my thoughts. In Egypt, where parks and playgrounds are rare, children learn to turn their surroundings into their own. I’m particularly drawn to this instinct because their imagination is limitless—they navigate and adapt to their environment in ways that transform ordinary structures into something entirely new. Every wall becomes a canvas, every surface a launching point. These architectural elements aren’t just part of the background; they shape the interaction, setting the stage for movement and play. I believe necessity fuels creativity, not just in play but in everyday life. When resources are limited, improvisation becomes second nature, and within that improvisation, the most unexpected and beautiful creations emerge.
<> “When resources are limited, improvisation becomes second nature, and within that improvisation, the most unexpected and beautiful creations emerge.”
Athens Design Forum, Katerina Papanikolopoulos: How do you use architecture as a framing device in your photography?
Mariam El Gendy: Architecture is an art form I have admired for a long time, and I approach it much like I do my photography, through a human lens. What fascinates me is the way people adapt to their surroundings and how, in turn, those spaces adapt to them. This dynamic relationship shapes the way I frame my images. The way a subject interacts with their environment guides my composition, allowing them to take the lead even when they appear small in scale compared to the structures around them. The buildings they exist in reveal so much about them, from socio-economic contexts to more personal narratives. When stepping into their space, it is essential to be mindful of that, approaching it with sensitivity and awareness. Their home is their sanctuary, a space they navigate instinctively, knowing exactly which corners conceal them and which ones expose them. I find that fascinating because, in a way, the subject naturally shapes the composition, and my role is simply to follow.
<> “Their home is their sanctuary, a space they navigate instinctively, knowing exactly which corners conceal them and which ones expose them.” ~ Mariam El Gendy
Athens Design Forum, Katerina Papanikolopoulos: Across the series of the Al Nas Clinic, we see the same man framed through a car window and a door frame. How did your approach evolve throughout this sequence? How do these framing choices contribute to the narrative, and what do they symbolize for you?
Mariam El Gendy: This was the father of one of the patients at the hospital, and approaching this project wasn’t easy due to its sensitivity. Through our conversation, I got to know his story a little bit more, but listening is different from asking someone to stand in front of a camera. Rather than making it solely about the photograph, I asked him to take me around the house. I remember the house being very dark. We passed through a bedroom to reach the balcony, and as soon as we stepped outside, the light surrounding him was beautiful. There was a peaceful energy to that moment, which I wanted to mirror in the image—almost as a reflection of his son’s recovery. Later, he took me downstairs to show me one of his most prized possessions: the microbus he worked on. That bus became part of the story, part of his identity. It wasn’t just a material object; it was how he provided for his family, something he was deeply proud of. For me, it symbolized his own journey and the quiet strength he carries. The framing of these images unfolded naturally as he moved through his space. I’ve always felt that when a subject engages with their surroundings, they shape the image themselves. It’s just a matter of recognizing and capturing the moments that resonate.
<> “The framing of these images unfolded naturally as he moved through his space. I’ve always felt that when a subject engages with their surroundings, they shape the image themselves.”
Athens Design Forum, Katerina Papanikolopoulos: Within a certain image of the Haaj Series, your emphasis on legs and the act of walking is intriguing. How does physical movement contribute to your visual storytelling?
Mariam El Gendy: My subject’s interaction with space fascinates me. I think of myself as an observer, always quietly taking in how people exist within their surroundings. Hajj is a deeply physical experience, and I was immediately drawn to capturing the body in motion. It becomes a shared rhythm, where individuals from different backgrounds move as one, which I found fascinating. Focusing on these details made me more aware of our similarities rather than our differences. The way people’s bodies moved started to shape my storytelling. What intrigued me most was how, despite coming from different places, everyone’s movement seemed to merge into a singular flow. Zooming in on the legs revealed that, at our core, we are all very much the same.
Athens Design Forum, Katerina Papanikolopoulos: Urban infrastructure appears as a recurring theme in your work. What draws you to street life as a subject? How do you approach capturing the essence of urban movement and space through automobiles and streets?
Mariam El Gendy: As an Egyptian, I spend so much of my time in the car, and Cairo never bores me. There is little to do but observe, catching glimpses of the lives of those I cross paths with, even if only for a moment. These fleeting interactions can be inspiring, and photography becomes a way to hold onto them. Framed by windows and moving streets, they shape the way I see and document the city. Cairo’s streets are intense, constantly pulling you into different narratives, whether it's an intimate moment between a couple by the Nile or a policeman resting on a beautiful, makeshift chair. Experiencing these moments up close makes the city feel even more alive, revealing how people carve out their own spaces within the chaos.
<> “In Egypt, where parks and playgrounds are rare, children learn to turn their surroundings into their own.”
Athens Design Forum, Katerina Papanikolopoulos: Improvised structures appear frequently in your images. How do you perceive them as a visual language? In the image of stacked crates, how do such spontaneous arrangements embody aspects of Egyptian culture?
Mariam El Gendy: I love finding these seemingly random structures that almost make no sense. They create a dialogue with the people that walk past, sparking curiosity, confusion, and even humour. It transforms them into something much more than improvised structures. I really like this question because my attraction to these arrangements comes directly from my Egyptian background. Egyptians are natural problem solvers, constantly repurposing objects in inventive ways. Like I mentioned earlier, even a makeshift chair can become art. Growing up, I was surrounded by these unexpected creations, where nothing was ever truly broken, everything found a second life. The solutions aren’t just practical, they often turn out to be unexpectedly beautiful in ways that feel unintentional yet deliberate.
Athens Design Forum, Katerina Papanikolopoulos: Your work often captures moments of labor. How do you approach these scenes? What aspects of everyday work intrigue you, and how do you convey them visually?
Mariam El Gendy: Growing up in Egypt, you’re constantly surrounded by people working, not just in offices or conventional jobs but out in the open, in the streets, on every corner. Labor isn’t hidden behind closed doors. It is part of the city’s rhythm. Everywhere you look, people are working hard to build a life for themselves in a place where resources can be scarce. Without intending to, I found myself drawn to capturing these moments. There is something compelling about the way people move through their work and how their presence shapes the space around them. Each job has its own rhythm and visual language, and I am drawn to the way that unfolds in an image. One of the images you’re referring to was taken at Cairo’s Friday Market, also known as Souq El Gomaa. It is one of the most chaotic yet fascinating places I have ever been. It is the perfect example of unconventional labor. You can find absolutely everything there. Antiques, spare car parts, and even live animals are sold through makeshift stands. It ties back to what I was saying about Egypt’s deep culture of improvisation, where nothing is ever truly discarded and everything is given a second life.
Mariam El Gendy is an Egyptian-born photo-artist whose work weaves Middle Eastern culture, contemporary art, and personal depths into a visual narrative. Initially focused on documentary photography, the practice evolved into an intimate exploration of self, shaped by a deep connection to the MENA region, Muslim faith, and the experience of womanhood. Featured in British Journal of Photography, Dazed 100 MENA, Living Rooms by Middle East Archive, Dazed Middle East, and GQ Middle East, El Gendy’s work captures the fluid intersection of memory, place, and identity.