Deflated Ball (2014) presents two stacked spherical forms rendered in plaster and softly blended pastel pigments, the upper element appearing to sag and collapse inward while the lower holds its ground with quiet geometric resolve. The irregular, yielding surface of the upper sphere reads as unmistakably bodily, evoking the give of skin or rubber rather than the rigid mineral material from which it is actually made. That friction between apparent softness and physical hardness is precisely where Nevine Mahmoud locates her artistic intelligence, coaxing plaster into postures of vulnerability and sensory intimacy that the medium would seem to resist. Mahmoud, born in 1988, has built a practice around the language of tactility, using sculpture to question what the eye assumes it already knows about weight, warmth, and touch. Deflated Ball is an early and particularly concentrated example of this sensibility, its modest cubic dimensions of 20.3 by 20.3 by 20.3 centimetres giving it the quality of a held object, something almost domestic in scale yet charged with quiet strangeness. The muted tonal transitions across its surface, achieved through pigment worked into the plaster, lend the piece a painterly delicacy that further complicates any straightforward reading of material or form. The work carries a clean provenance, having passed through Ghebaly Gallery before entering a private collection in 2015. It is signed and offered in excellent condition, representing a strong early acquisition point within an artist whose critical profile has grown considerably in the decade since this piece was made. For collectors drawn to sculpture that operates at the intersection of abstraction, the body, and phenomenological experience, Deflated Ball offers both aesthetic reward and genuine art historical relevance within the trajectory of Mahmoud's development.