Shaping Identity with Science & Art: Mahmoud El-Maklizi

Mahmoud El-Maklizi has been a long-standing member of the Department of Immunology at the University of Toronto. After completing his PhD in Dr. Cynthia Guidos’ lab, he has continued his research as a postdoctoral fellow in Dr. Clint Robbins’ lab. In addition to immunological research, Mahmoud is dedicated to the visual arts. IMMPress Magazine sat down with him to discuss his artistic journey and how arts and science coexist in his life.

How did your artistic journey begin?

My art journey has not been continuous. I started painting at the age of twelve and, continued until I was around sixteen to seventeen years old. Once I started my undergraduate degree in science, though, I did not paint at all. It wasn’t until after my PhD that I picked up art again.

When I was younger, my health condition made it challenging for me to experience life like others did. So art was a necessary outlet to contend with the world around me. I remember my first painting was of these ducklings that were printed on a blanket I had as a child. When my parents saw the painting, they thought it was pretty good for an eleven-year-old and enrolled me into art lessons right away.

Why did you stop painting once you went to university and why did you focus on science instead?

I actually got accepted to art school for a degree in architecture. But, I also liked math, physics, and biology. In fact, my health condition motivated me to zone in on biology almost obsessively. I was hyper-fixated on trying to understand and potentially fix my condition.

So during my undergrad, I majored in biology with a minor in math, physics and chemistry. I didn’t totally give up on art, though. In zoology courses, we’d have assignments that involved drawing specimens and labelling their features. I enjoyed doing these biological illustrations and making them as detailed and accurate as possible.

How did you get back into art after your PhD?

Towards the end of my PhD, I was motivated to attain both perfection and accuracy in science – but eventually my brain needed a break. Also, a good friend of mine requested a painting for his birthday and that was a way to get back into making art.

You said you were hyper-focused on biology when pursuing your degrees. What is your mindset about science like now?

I’m more hyper-focused on it now than I was ever before. I take science extremely seriously. I also tend to be hyper-focused on anything I do, which is why I choose to do very few, selective things. Once I start painting, for example, I become totally absorbed. I’d paint from 7 a.m. to 10 p.m., completely immersed for days, chasing every detail until the piece felt complete.

What are your painting subjects and style, and how have they evolved over the years?

I grew up in Egypt and back home, there is a much larger sense of community than here in Canada. In Egypt, I’d always be surrounded by extended family members and people in my neighbourhood. This naturally inspired me to paint groups of people in the beginning. As I got older, I transitioned into painting individuals and sceneries that were meaningful to me. Also, I used paintings to express myself – and sometimes, seeing myself so clearly in the work felt too raw and revealing. But when I look back at those older paintings now, I can trace exactly how I was feeling in those moments.

What are the overlaps between art and science for you personally?

With both art and science, you might create something—a painting or a scientific paper—with a specific intention, but the outcome can be interpreted differently depending on who’s engaging with it. Personally, I’ve always felt that biology is more similar to art than physics or math. Physics and math can become increasingly abstract the deeper you investigate, and the results are often intangible. But with biology and art, the process is more hands-on, and the outcomes can be visualized and grasped more clearly.

You recently showcased your work at our department’s 40^th year anniversary. What was the experience like for you?

It felt really good to be involved in the department in a different way and to have the chance to share my artwork. The last exhibition I had before this was when I was fifteen years old – which is quite crazy considering how young and inexperienced I was then.

Our department community has also been very supportive. Jen [Gommerman] was one of the first people in Canada who encouraged me to start painting again, along with Dr. Michelle Letarte. At the time, I was in the beginnings of my PhD, and Jen [Gommerman] was the Graduate Coordinator. I used to bring back Christmas gifts from Egypt, and I’d often include a picture of my own paintings or drawings to make the gift more personal. That’s how people began to discover that I painted. I still remember Jen and Michelle encouraging me to seriously get back into painting, and their support – along with that of many others – motivates me to stay connected with my artistic side.

Who are your artistic mentors and what advice do you have for artistically driven graduate students?

I’ve always admired Leonardo da Vinci—his work reflects the level of detail and technical precision I aspire to in my own art.  As for advice, I’d recommend building art into your routine, which is something I’m still working on myself. You don’t need to draw every day, but even setting aside 30 minutes to an hour can make a difference. Taking photos of things you’d like to draw later can also be a great way to stay inspired. And honestly, the hardest part is figuring out what you want to say through your art. I think it’s important for anyone interested in the arts to spend time reflecting on that.