A Cairo-based Polish artist and conservator of fine arts. In 2002, she earned master’s degree with distinction from Academy of Fine Arts in Warsaw and started working there as an assistant at the Department of Conservation and Restoration of Painting and Polychrome Sculpture. Her diploma was awarded as the best Master's Project at the Academy of Fine Arts in Warsaw and got Special Distinction from the Art Historians Society. Since 1999, she has been involved in the preservation of the Ancient Egyptian heritage, participating as a conservation expert in many projects such as the Conservation and Restoration of Hatshepsut Temple and the Khufu Second Boat Project. The artist has been cooperating with cultural institutions and private collectors, exploring the unlimited capabilities of the art of written signs. She created her own type of artwork - a literary picture, which transforms selected texts into unique visual forms. Izabela named her art “Letterality” because her main goal is to create a special visual reality based on the original shapes of signs and symbols, where the form and its meaning coexist in harmony. The artist combines in her style Arabic calligraphy and ornamentation with hieroglyphics and various ancient Egyptian symbols. Izabela Uchman’s pictures reveal her interest in timeless spiritual values and cultural diversity. She concentrates on conscious existence related to time. Her works refer to the legacy of the ancient Mediterranean cultures, the important base of the universal qualities. She explores the relation between individual and cultural heritage, which encompasses not only inspiring diversity revealed in many different ideas, but also common principles and collective achievements of human knowledge and experience. Uchman tries to discover the new aspects of “identity” and “cultural affiliation,” creating an artistic platform for an intercultural dialogue. She participated in various solo and collective exhibitions. Her artworks are present in private collections in Poland, the Czech Republic, Germany, Great Britain, Belgium, the USA, Egypt, Kuwait, and the National Museum of Ethnology in Osaka.
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In Growing with the Trees, I wanted to visualize how our individual lives are inseparable from the ancestral structures that support us. The figures stand back-to-back at the trunk, merged with a central black pillar that feels like an architectural anchor—a foundation of heritage and identity.
I used thousands of small, hand-painted strokes for the leaves to represent the sheer volume of moments and lives that contribute to a single person’s growth. The turquoise and gold in the foliage suggest a vibrant, living wealth that is passed down through generations. To me, this piece is about the beauty of being rooted; it’s about recognizing that we are the living branches of a very old and magnificent tree, and our only task is to continue reaching toward the light while staying grounded in the strength of those who stood here before us