“Graffiti is the one tangible thing we have gained from the revolution.”

It has been a year and a half since the January 25 uprising in Cairo and while there are still scars, some things that are left behind turned a negative into a positive. The uprising gave a voice to artists who felt unheard and much of this is now reflected in the graffiti on the city’s walls. Soraya Morayef looks at Cairo’s recent graffiti history and uncovers a rich culture of street art in the making. (via art clvb)

Most of the graffiti I have documented are intrinsically connected to the ebb and flow of political currents in Egypt. I like to think that you can read my country’s recent history through graffiti, tracing back the chronology of protests, triumphs and failures, deaths and celebrations.

Many of these graffiti artists have gained international attention for their work. They are participating in gallery shows and featured in magazines around the world. Their styles reference everyone from Banksy to their own hometown heroes.

What started out as a new art form experimenting with different styles but heavily influenced by prominent western graffiti has since evolved into a more Egypt-conscious style, weaving Arabic calligraphy with Egyptian pop culture icons. A quote by Nietzsche is stencilled in Arabic next to the smiling face of Mohamed Reda, a popular singer and actor, symbolising the fusion of past and present, western literature with Arabic cinema, in this evolving, raw and vibrant street art.

Controversial subject matter does not last long on the walls in Cairo. If it touches on military or government topics the piece is often quickly covered up, which as of late means more effort for the artists in order to continue to share their work.

Much of the graffiti in Cairo has been political, if not influenced by political events. Faces stare back at you from walls all around Cairo, especially near Tahrir Square – the heartbeat of all protests since the January 25 uprising.

To read more about graffiti in Cairo and the rest of the article from Soraya Morayef for The National via art clvb click here.