Samo Shalaby on Maximalism, Old Master Techniques, and the Stage Series

Egyptian-Palestinian painter Samo Shalaby, a Central Saint Martins graduate, discusses his maximalist approach that blends Old Master techniques with contemporary influences. Growing up in Cairo surrounded by artists—his mother, aunt, and sister—he absorbed diverse methods. His style is fueled by Palestinian audacity and Cairo's eclectic kitsch. Shalaby's 'stage paintings' series, including 'The Masquerade' (2021–23), are part of a planned ten-part 'lifelong dream' that explores dichotomies and storytelling, inspired by Hieronymus Bosch and Alphonse Mucha's 'The Slav Epic'. He refuses to sell these works, intending them for a single room. His 'Curtain Call' series is more tightly framed, merging classical and modern elements. Currently, he experiments with a new 'Portals' series using grisaille and chemical reactions. 'Figurative Theatre', created during COVID, was a rebirth that helped him find his voice. He values time, labour, and technique, though he acknowledges contemporary art's shift toward abstraction. The interview appears in Canvas 113: Common Threads.