Prof. Dr. Mervat Hassan EL- Swify
• Bachelor's degree in Art Education, 1973.
• Scholarship in Yugoslavia 1991.
• Master's degree in art education, 1993.
• Ph.D. in Art Education philosophy (Ceramics Department) 1996.
• Professor at the faculty of Art Education since 200.
• Assistant professor at Qatar University from 2001 to 2006.
• Member of the Syndicate of Plastic Art.
• Member of the International Critics Association (ICA). General Exhibitions:
• Participated in the first general ceramics exhibition in 1988.
• Represented Egypt at the Zagreb Biennale in Yugoslavia in 1987.
• Exhibition of Creative Women Artists –Rome -1989.
• Biennale of small pieces at the Milanovitch, Yugoslavia, in 1992.
• Configura Exhibition in Germany 1994.
• International Cairo Biennale of ceramics 1992, 1994, 1996, 1998, 2000
• Egyptian women artists exhibition in the Egyptian modern art museum, 1995.
• General Exhibitions in Qatar from 2001 to 2006
. • Festival of contemporary Egyptian women artists' creations 2004.
• Contemporary Egyptian Ceramics Panorama in Bibliotheca Alexandria 2005.
• National exhibition of plastic art since its beginning till 2018.
• Art of pottery exhibition in Saad Zagloul Museum, 2008.
• Agenda exhibition in Alexandria until 2014. Private Exhibitions :
• Rehany Palace in 1973
• Dar el Fonon in Saudi Arabia, 1980, Art gallery of Cairo Opera House, 1989.
• National Museum of Applied Art in Yugoslavia, 1992.
• Extra gallery and the international cultural cooperation centre, in 1994
• EgyptiaAcademymy in Rome 194.
• Syndicate of plastic art, 1997, and Extra Gallery, 1998.
• Art appreciation palace in Sidi Gaber – Alexandria- 1999.
• International cultural cooperation center -2000, 2008.
• Qatar University Gallery 2004.
• Art center gallery –hall 5, Garage and garden 2005
• Horus Hall Faculty of Art Education – 2006.
• Le Meredian resort- Dahab – 2009
• The current interactions and expressions, Extra gallery -2011.
• Return of soul – El Bab gallery
- Egyptian Modern Art museum
-2014 Prizes:
• Pioneer exhibition 1973.
• Art& Revolution exhibition 1973 1974.
• The Jury prize at the Milanovitch Biennale of Ceramics 1991.
• The jury prize at the 1st Cairo triennale of ceramics 1992.
• Biennale prize at the 2nd Cairo biennale of ceramics 1994.
• Grand prize at the 3rd Cairo biennale of ceramics 1996.
• Encouraging award in ceramics from the Ministry of Culture.
Collections:
• Collections of the Egyptian Contemporary Art Museum and the Egyptian Ceramics Museum.
• Collections of the Titograd Museum
– Yugoslavia .
• Private collections in Italy , Canada , Saudi Arabia , Yugoslavia , Norway, Qatar.
Cultural activities:
• She wrote articles about contemporary Egyptian Ceramics in the monthly magazine ( Egypt Today), English and French editions- edition 27 -1995.
• Also an Article about child creativity – edition 29- 1995.
• And an article about the artist Ali Nabeel Wahba – Edition 31-1995
• An article about the children's workshops at the Egyptian Contemporary Art Museum in the same edition.
• She is the author of two books about ceramics :
1- Tendencies of contemporary Egyptian ceramics
2- The sculptural Ceramics through technology and aesthetics of Modern Ceramics.
• Member of the Jury of the 11th YouthSalon 1999.
• Research published in the international seminar of the Visual Art Center, atar, 20042005.
• Organized workshops for the Youth Artists at the Fostat ceramics center in 200 and 2006.
• Organized Ceramics workshop at Le Meredian Resort in Dahab -2009.
• Organized and supervised the 1st,2nd, 3rd, and 4th international symposium of ceramics in the art education faculty, Helwan University, in 2015, 2016, 2017, 2018
• Organized and supervised the 1st international symposium of ceramics in iTunis village (Fayoum), 2018
• Participated in the Nile Salsabil workshop for art in Aswan, 2018
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This diptych of ceramic sculptures presents a compelling dialogue between traditional craft and expressionist figuration. Each form is modeled as a stylized, vessel-like torso topped with an abstracted head, echoing the silhouettes of ancient funerary urns or totemic guardians. The artist utilizes a painterly approach to surface treatment, layering warm terracotta glazes with gestural sweeps of iron oxide and charcoal tones. These variegated finishes create a sense of weathered history and tactile depth, while the high-gloss sheen reflects light across the rounded volumes, emphasizing the sturdy, grounded nature of the forms.
Conceptually, the pairing explores themes of companionship and shared identity through subtle variation. While the two figures share a common sculptural language and earthy palette, the slight differences in their height and the orientation of their heads suggest distinct personalities or a quiet interaction within the space. By reducing the human anatomy to its most essential, bulbous components, the creator prompts a meditation on the body as a primal container for the spirit. Positioned together on a singular white plinth, these figures transcend their material origin to become universal symbols of presence and silent endurance.