Reda and Geometry of shapes The ancient Egyptian civilization was characterized by creative capabilities that distinguished it from the arts and cultures of the world. It relied on measuring units for all ways of life, the Nile, agriculture, architecture, drawing, sculpture, painting, etc., each profession measurementunit, here we single out art in its various creative fields, and when we contemplate the works of the artist Reda Abdel Rahman, we discover his fondness for ancient Egyptian art and the depth of this integration starting from his undergraduate studies at the Faculty of Fine Arts – Minia University, as he is from the generation of the first batch that established the unique and new The academic entity, Where the Minya governorate enjoys a large portion of ancient Egyptian art, represented in the tombs of Bani Hassan, the monuments of Al-Ashmunin, and Tuna al-Jabal, which are areas rich in their heritage and historical and creative value. On this solid base and reference, Reda was able to produce a vision, which is an extension and inspiration from this high-level art deserves to be an influence with its philosophical and constructive tributaries. The development of the skills did not come from a vacuum. The stages came and developed in a cumulative, sequential manner. Here we mention some names that changed the course of the history of art and placed it in a new rank and quality like, (Gauguin - Pablo Picasso- Vasarely - Hamid Nada ... etc.) The original references are an integral part of the artist’s vision, especially the researching artist who thinks about art, not just the practicing artist. The architecture of shapes and elements in the artist Reda’s work is a discovery of a new building aesthetics based on deep and solid foundations, which impose and support constructive relationships in Reda’s work and engineering it with a more profound and more contemporary vision the treatments of the absurd plain in the speed of performance characterize that. And the ability to direct feelings and spirit to the components of its elements. And when we recall from the visual and mental memory the works of the artist Reda in opposition to the latter in Egypt or the United States of America, we find his brilliance, which depends primarily on his beautiful abilities in the art of painting, which glowed with his works through the mixing and hybridization between what is abstract and what is classical, so to speak, creating an exceptional case for a unique contemporary vision, bypassing the apparent and superficial traditions of the concept of contemporary. The artist Reda Abdel Rahman comes to us from America after several years, bringing us artistic icons that are different in terms of the area that we are used to seeing in all his previous exhibitions, but these icons carry the genes of his large pieces. Despite the difficulty of dealing with large spaces and getting used to them visually and performatively, moving from them to deal with small spaces creates a visual problem with the solution depending on the artist’s skills, not only in performance but in engineering shapes with their different constructive and aesthetic components, so the geometry of shapes means revealing the foundations of them construction as an original reference, not geometry in its absolute sense, every element in nature has an engineering foundation on which it is built, from humans to plants and animals. A group of the artist’s icons that sparked my attention, which he carried to us across the seas and Oceans are characterized by grace, transparency, and the ability to create a deep spiritual composition from thousands of years to glow in a new time full of contradictions. The artist Reda Abdel Rahman is considered one of the pillars of contemporary Egyptian art, since he presents beautiful art that is characterized by the ability and will to challenge at a time that needs great positive, creative energy in a society that has an extended history full of unique artistic creativity.