Visual artist that works in teaching art & culture management. She is a teacher at faculty of fine arts, Capital university (Helwan formely), Egypt. Graduated by a bachelor degree from the same faculty at 2013, Master degree at 2019 and PHD at 2025. The artist works & live in Cairo. She is active in art scene since 2011 as she participated in a number of group exhibitions inside and outside Egypt, like: “The foloka” exhibition, held by abd el wahab abd el mohsen foundation for art, culture and development at Tam gallery (arts-mart) 2015, 2018. “Fine arts women painters association” exhibition 2017, 2020 and 2023. “The hidden beauty of the fallen roses” at Jesuit Roof Gallery, 2023. “Void Trace” group exhibition at Cairo Gallery, 2025. “Paradox of she “at motion gallery by Art d`Egypt foundation, 2025. “Homes that never sleeps” by art d`Egypt, 2025. “Cairo international district” at Kodak passage with (Cairo gallery) by Art d`Egypt foundation, 2025. “Technical dialogue” at art palace – Cairo opera house, 2026. She also has a formal national participations, like: "Youth Salon" the 22th (2011), 27th (2016) and 34th (2024). Luxor painting international symposium “2020”. El Qussier international symposium for painting & drawing, Egypt 2023. Also, she participated in international exhibitions, like: "Golden autumn in Belgorod region" symposium international plein air at BSTU " Belgorod shuhkov state technology university" 2016. “The 2nd Abu simbal international symposium”, Egypt 2016. The artist had 4 solo exhibitions and the last one of them is “Adaptation journey“ at Cairo gallery , 2026. The artist works as ( Cairo gallery ) program manager where she is supervising the managing and curating different art exhibitions and events. Yara Hatem is a member of the Egyptian Syndicate of Fine Arts and her artworks part of private collections inside and outside of Egypt.
- Likes
- 25113
- Views
- 3545232
- Followers
- 100
- Following
- 5
Jamal constructs a visual dialogue between the individual and the weight of history. The figures, rendered with minimal facial features and a serene, almost statuesque poise, appear to emerge from or be consumed by a dense forest of patterns.
The artist utilizes a blue-dominant palette, drawing heavily from the aesthetics of Iznik tiles and traditional Islamic geometry. By physically cutting and layering images of historical monuments, arched doorways, and floral arabesques, Jamal creates a non-linear space where time feels suspended. The figures do not stand in a setting; they are woven into it. Their clothing acts as a canvas for the very architecture that surrounds them, suggesting that our identities are inextricably linked to the places and cultures we inherit.
There is a tactile quality to these works; the visible edges of the paper and the slight overlaps create a sense of depth and physical history. Jamal’s work avoids the clichéd "exoticism" of historical Orientalism, instead offering a modern, introspective look at how we carry our heritage with us. The fragmented nature of the collage mirrors the way memory works—selective, layered, and beautiful in its incompleteness.