An Egyptian Artist, launched her artistic journey after graduating from Faculty of Art Education, who holds, a Bachelor's degree in Art Education (Art Education), Helwan University, 2011, and master's degree in sculpture from Faculty of Art Education "Sculpture Department" 2018, followed up with Pre_ PHD degree, "Sculpture Department", Faculty of Fine Arts, A Fulltime scholarship (2020-2021/2023_2024/2024_2025), and Member at the Fine Arts Syndicate. Hand building lively organic forms, Alaa incorporate bodies and organic forms in nature, responding to the curves of her own three-dimensional forms. she won multiple awards as ,2nd prize, 6th Art Awards, "Sculpture "Farouk Hosny Foundation of" Culture & Arts, Cairo, Egypt. 2025. 1st prize, 2nd "Adam Henein Prize", Cairo, Egypt,2018. 1st prize, 57th" Vanguards Exhibition, Fine Art Lovers" Association, Cairo, Egypt,2017. She gained international recognition through Symposium & Workshops as: 2019 - 24th Aswan International Sculpture Symposium, Aswan, Egypt. 2016 - 3rd Madinaty International Sculpture Symposium, Cairo, Egypt. 2009 - 2nd Art Workshop for the subject of Human Rights, Cairo, Egypt. 2016 - 2nd Cairo international scrap iron Sculpture Symposium, Cairo, Egypt. 2014 - 19th Aswan International Sculpture Symposium workshop, Aswan, Egypt. 2013 - Welding Iron scraps workshop, Cairo, Egypt. 2013 - 1st International Art Day Workshop, Ölüdeniz, Fethiye. Turkey. 2013 -12th Ostraka Art Festival, Sharm El Sheikh, Sharm El Sheikh, Egypt.
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a compelling exercise in psychological tension and physical imbalance. Though cast in heavy bronze, the sculpture possesses a startling lightness, its three spindly legs extending from a truncated, hip-like torso in a rhythmic, perpetual stride.
The choice of three legs is a deliberate disruption of natural symmetry. It creates a "tripod" that is technically stable but visually anxious, suggesting a figure that is moving in multiple directions at once or struggling to find its footing. There is a distinct anthropomorphic quality to the "pelvis"—it is fleshy yet architectural, evoking the vulnerability of the human body while maintaining the cold permanence of a monument.
In the context of Bourgeois’s broader body of work, this piece reflects her obsession with ambivalence. The legs are graceful yet skeletal, appearing both as pillars of support and as fragile appendages. The viewer is invited to walk around the piece, noting how the shadows (as seen in your image) elongate the form, making the sculpture appear to "step" out of its own bronze skin and into the space of the gallery. It is a haunting representation of the human condition: the persistent, clumsy, and often beautiful effort to keep moving forward.