The artistic practice of Khaled Hafez stems from an intense desire to understand and explore his Egyptian identity and the political situations both past and present shaping North Africa. In the artist’s lifetime, he has witnessed Egypt undergo frequent changes in political and economic models, from a Soviet style to free market system popular in the present world.
“Today, here or there, universal icons follow us, even at home: Top-models (there) or theology monopolists of science-and-faith (here), filthy-rich tycoons and unqualified politicians (here and there). From universal icons I weave my legend.”
Hafez understands the power and effectiveness of icons and it’s uses as a tool to maintain the social pyramid in ancient Egyptian civilization and contemporary society. In Flight of the Half Gods, the artist challenges this notion along with Egypt’s rich visual culture, merging historic icons with those existing our present society. In the present lot, the allusions to ancient Egyptian gods, particularly Anubis and Bastet-Sekhmet reveal striking similarities to contemporary comic book heroes, i.e. Batman and Catwoman, in their roles as protector, warrior and healer. This juxtaposition creates a dichotomy which ultimately breaks down the structures of what is consider sacred or profane, modern or traditional, synergizing these revered icons into one universal symbol.