Q How did the visual arts world react to the revolution this past year?
A The commercial level — in other words, the galleries — was a total flop, which is very understandable because of the revolution.

For the past 10 years, there has been a number of serious Egyptian collectors, yet in 2011, these collectors became insecure about the new republic.

On the creative level, we have a problem. Well, not a problem but more like a problematic matter. All the art that was created this year that I know about was about the revolution.

And there could be a trap there, in that art becomes tailored and not studio art.

It is no longer the perseverance of an artist who goes to the studio every day to work on a project that is an obsession.

Out of all the artwork done for the revolution, only a maximum of 5% will survive, but that is strictly my own opinion. Because in this case, all artists fall into the literal, and what gives art its beauty and magic is metaphorical and not the literal.

Q Best and worst thing about the arts sector this year?
A I think the most important event of the second half of the year was the 2011 Salon of Young Artists, formerly known as Salon of Youth. Acting as the event’s director, I changed its name this year for the first time in 22 years because I felt that Salon of Youth was an invitation to all youngsters and not just young artists.

And as for the worst thing, I think that when faced with a big event, it is attractive for an artist’s work to be inspired by it. It is like a swarm of moths to a flame, they go toward the light and end up getting burned.

Events like war, reforms and revolutions are always appealing to approach. There is nothing wrong with it, it is a natural phenomenon.

Q What do you believe artists should be focusing on in 2012?
A Go back to the studio and work.

There has been a conflict between being an artist and a citizen — I think everyone should go back to doing whatever they were doing before the revolution.

Q How do you think the outcome of the Parliamentary elections will affect the world of art?
A I think everyone should be worried, and not just artists.

Yes, we should be worried, and no, we shouldn’t. I mean, this conservatism is not new to Egypt.

For 3,200 years, the Temples of Amun acted like Al-Azhar and the Orthodox Church and they were extremely omnipresent in the life of ancient Egyptians.

And it was also the same during the Judeo-Christian period and during the Islamic period as well. I would say that Egypt has never really been liberated from conservative influences.

It was only in the beginning of the 20th century that Egypt was a progressive, leading model, which is not the case anymore. We should just wait and see what will happen next, but we should never stop producing. et