Rana El Nemr

[4] One of El Nemr's noted series, The Metro, from 2003, presents women in traditional and non-tradition clothing in the Cairo subway, compositionally framed by the structure of the train cars.

Through her lens, and with a nod to her background in photojournalism, ElNemr captures the tension between these forces, revealing how small-scale, often-overlooked details disrupt and enrich the rigid flow of the city’s everyday life.

Her images highlight moments such as unexpected light displays on unfinished buildings or the overgrown beauty of neglected urban gardens, showcasing the unplanned aesthetic that emerges from these interruptions.

In Giza Threads, ElNemr presents a fresh perspective on urban life, celebrating the interplay between order and chaos while capturing the city’s layered, dynamic identity.

[6][7][8] Giza Threads was shown in Elnemr's second solo exhibition at the Townhouse Gallery in Cairo,[9][10] and was presented by the artist in a talk at Sharjah Art Foundation's 2010 March Meetings.

The project explores the survival, social dynamics, and intricacies of life in this space, situated between the upper-middle-class neighborhood of New Maadi and the informal Arab Al-Basateen area.

She describes her project as an exploration of “a specific location with significant geographic importance—a place where a mysterious fire erased life,”[12] examining the survival strategies and complexities of this transient space.

[15] Rana El Nemr’s Coastline, "il sahel" in Arabic, is a photographic project that examines the gateways marking private resorts and summer residences along Egypt’s northern Mediterranean coast.

Located along a historically significant coastline linked to cultural exchange with Europe, these developments absorb and reflect Western influences, intensifying identity contrasts within Egyptian society.

The vivid backdrops of the vibrant ceramic tile designs and backlit advertisements inside the station walls contrast with the invisible, yet mounting and conflicting societal pressures to which each person in this space is subject.

These balconies, often found in densely populated and poor neighborhoods, act as transitional spaces between private and public life, serving as a expression of agency amidst challenging environments.

This display, of what is essentially a private part of the home, to the rest of the world is a positive aspect of the Egyptian people.”[12] The project has taken multiple forms over the years, including Telekinesis (2007), a photo animation where balcony images are reassembled into imaginative, surreal housing blocks.

Through photography and sculpture, El Nemr’s Balcony Series captures the interplay of culture, aesthetics, and resilience, reflecting the dreams and creativity of Cairo’s urban communities.