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 sculptural work is a compelling fusion of ceramic tradition and expressionist portraiture. The work takes the form of a large, bulbous vessel that serves as a surrogate for a human torso, topped with a spherical element depicting a face. The artist employs a gestural, painterly technique, using bold sweeps of earth-toned glazes—ochre, umber, and charcoal—to suggest the folds of a garment. This tactile application of color emphasizes the raw, earthy quality of the clay, while the high-gloss finish reflects light in a way that highlights the piece's substantial volume and rounded contours.
Conceptually, the work explores the intersection of the domestic object and individual identity. By utilizing a vessel—a form traditionally associated with containment and utility—to represent a human figure, the creator prompts a meditation on the body as a container for memory and personality. The face, rendered with a lighthearted, almost caricatured touch, complete with spectacles, provides a whimsical counterpoint to the heavy, monumental presence of the base. Supported by a minimalist metal stand that elevates the form, the sculpture achieves a sense of importance, transforming a ceramic artifact into a soulful, idiosyncratic guardian of its space.