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 striking mixed-media sculpture is a visceral exploration of the human form through a lens of raw, expressive abstraction. The central figure is a heavy, monolithic torso rendered with a complex, painterly surface where layers of deep ochre, charcoal, and crimson glazes collide with metallic, silver-toned highlights. The most arresting feature is the singular, oversized eye situated within a fractured, mask-like head, creating an intense, observational presence. This organic, tactile body is topped with a utilitarian, wire-and-mesh crown, which introduces a sharp, industrial contrast to the weathered appearance of the ceramic or stone base.
Conceptually, the work navigates the boundary between ancient totemic tradition and modern psychic fragmentation. The singular eye suggests a theme of heightened perception or an internal "witness," while the crude, exposed cavity at the figure's core hints at vulnerability and an unmasking of the self. By pairing the substantial, grounded weight of the torso with the fragile, sketch-like quality of the wire apparatus above, the artist captures a sense of precarious dignity. This piece serves as a powerful meditation on the endurance of the spirit, transforming a collection of disparate materials into a cohesive, soul-stirring guardian of the contemporary experience.