Waffle Cube, made in 2014, presents a ceramic cuboid whose grid-patterned surface carries the visual logic of rigidity while the form itself quietly undermines that promise. The structure appears to have softened and slumped, its edges losing their precision and its mass settling into a state of partial collapse. The waffle texture, orderly and repetitive, plays against the yielding quality of the overall silhouette, producing a sustained tension between what the surface proposes and what the body of the object actually does. At just over twenty centimetres in each dimension, the work occupies a scale that feels immediate and physical, inviting close attention rather than commanding distance. This interplay between surface regularity and structural deformation is central to Nevine Mahmoud's practice. Born in 1988, Mahmoud consistently works with materials associated with hardness and permanence, using them to describe states of compression, softness, and bodily give. The familiarity of the form here, something close to a child's toy or a kitchen object, is part of the work's strategy. Recognition arrives first, followed by the subtle wrongness of what has happened to the shape, and that sequence produces an affective charge that pure abstraction would not allow. Ceramic becomes a medium for rendering vulnerability in a language that appears, on its surface, entirely composed. The work carries a clean provenance, having passed through Ghebaly Gallery before entering the present private collection in 2015, and is offered now through Janet Rady Fine Art. It is signed and presented without framing, as befits a fully three-dimensional object. For a collector building a holding in contemporary sculpture with an interest in materiality and bodily analogy, Waffle Cube represents an early and particularly focused example of Mahmoud's thinking, compact in scale and precise in its conceptual ambitions.