top of page

The six hundred seventy four forms and a dragon, 2022 - Ongoing

Acrylic paint on fabrics, Sanded glass and Wooden frames

WhatsApp Image 2022-10-14 at 12.00.57 AM (2).jpeg

The intellectual property policies on seeds, their genetic modification, international trade agreements, and their impact affect our food security and sovereignty. The Monsanto conglomerate holds patents for 674 seed varieties and controls the global market on seed production while often suing small local farmers whose crops cross-pollinate with their seeds. 


The six hundred seventy four forms and a dragon installation is part of Future Farms (2013–ongoing), an umbrella project that interrogates the current local and global agricultural landscape. The installation includes a series of hand-painted fabric fragments as a future artifacts produced in collaboration with a calligrapher in Cairo, Egypt. It uses the Egyptian technique of sign making, historically used for election boards, protests, and advertising signs. 


The images and text on the fabrics imaginatively simulate the protest signs used in the 2013 Cairo participation in the global protest against agricultural biotech company Monsanto. Dressed as a dragon consuming the world’s corn, protesters created an icon of capitalistic greed to raise their voices against the company's practices.

WhatsApp Image 2022-05-14 at 6.15.26 PM (1).jpeg
WhatsApp Image 2022-05-14 at 6.15.26 PM (2).jpeg
WhatsApp Image 2022-05-14 at 6.15.26 PM.jpeg
WhatsApp Image 2022-10-14 at 12.00.57 AM.jpeg
WhatsApp Image 2022-10-14 at 12.00.56 AM.jpeg

"The visual language of these signs El Meleegy delegates and attributes entirely to one man: Mostafa ElKady, her sign maker, as he himself practices and preserves a long lived tradition of sign-making in Egypt.

In her work, El Meleegy often preserves the practices of others in a kind of patronage. She has previously worked alongside bronze statue-makers, pharmacy-owners, and now a political-banner-maker. Her practice of reviving these people’s methodologies of work can be seen as a tribute to the historical, and to their once necessary functions". text by Dina Jereidini

bottom of page