At Art Basel Qatar, the Cairo based artist turns childhood games into reflections on empire and control.
Reframing Beauty and Domination
Presented with Gypsum Gallery, Mohamed Monaiseer’s I, Pet Lion examines how colonial power embeds itself within objects of play and beauty. While his works shimmer with regal motifs and intricate craft, they expose how aesthetics can disguise systems of domination. For Monaiseer, art has always carried a dual function, telling stories of beauty while simultaneously revealing structures of power that shape collective consciousness.
Games as Metaphors for Empire
Chessboards and Ludo sets appear throughout the exhibition, suspended alongside shields and banners populated by mythical creatures. These references to childhood games blur into symbols of warfare and strategy, suggesting that systems of control are learned early and internalized through ritual and repetition. The lion becomes a central emblem within the series, embodying both protector and predator, a figure that mirrors how authority presents itself as reassuring even while rooted in violence.
Craft Memory and Disruption
Monaiseer’s practice draws heavily on painting, embroidery, and khayamiya appliqué, echoing the meditative precision of Islamic decorative traditions. Yet he intentionally disrupts this order through frayed edges and subtle asymmetries that fracture the illusion of control. Textiles play a crucial role, carrying memories of intimacy and protection while also evoking military coverings and instruments of force. Through these layered materials and metaphors, I, Pet Lion invites viewers to reconsider how systems of empire continue to shape identity, belonging, and perception long after their formal end.
