Born to a mother and father who cherish art in everyway, Nadia El Tatawy came to the world with a gift from God. Love and respect, humanity and creativity, sun and moon, music and people are little among many that truly fostered the essence of art in her heart.
Being Egyptian in origin, gave Nadia the depth of all times rationing her to understand and feel every concept of life that makes us as Human Beings exist.
Art as a spiritual feeling served Nadia to worship God enabling her to unify with the universe. In her own perception art is history, deepening ones understanding of human civilizations and their interrelations, which clearly shows in her paintings.
Art is my gift to humanity, and it is my message. It was revealed to me at a young age, and is something I have come to feel obliged to dispense and put out there. It is a message which bridges, and cements, and abstracts and relays and inspires people and human civilizations and cultures to better understand and appreciate each other, and the eternity which has created us. Throughout my career, my inner intention has been to canonize humanity, divinity, and eternity. Within this context, I dedicate both my paintings and my self as an artist. My work is an intellectual process as much as it is a skill-based process. It’s about the dialogue I’m having with my canvas. Though I often start with an inspired sketch of something which impressed me… in my travels, on TV, or even abstractly during a conversation, my interpretive process begins with the palette knife in hand and a state of mind that is closer to meditation than anything else. I have both an intense focus and calm while I’m working, also always allowing myself to improvise, given that the dialogue and inspiration between myself and the painting is taking me there organically. I believe that the work I create reflects my fascination with human history, human civilizations, human interaction with nature, and spirituality. In the world we live in today, it seems that these are often times the things that separate us; but I paint towards creating commonground. The priest, and the monk and the dervish are all treated with equal consideration –and I’ve found that where words have shortcomings in describing people and other cultures… images and colors can speak both accurately and intuitively. To this end, I look at my color palette as an emotional dictionary, and try to carefully contruct each tone within my painting to respresent something…. Perhaps an idea, an emotion, a state of being, or even an intention. For me, these colors are often the driving force behind my working process I am keen on both researching my wider subjects, and the more specific ones, but always reminding myself that my duty is in the interpretation of my subjects and not just recording what I see. I want to honor the world around me, and through my art…add value to the lives of those that look at it.
Human Civilizations with Extending Echoes South
By Critic Kamal El Ghowaly Head of the Egyptian Critics Association - January 2007-01-21
The culture of the artist no doubt reflects on his work, belief, creativity and role in Life. It also reflects on his sense of responsibility towards all what he performs. I felt it clearly when I met with fine artist Nadia El-Tatawy on my three visits. The first time was few years ago at her Gallery when I was drawn by her extent of interest to mark her own print on all her work; whether it was roses, flowers or extended distances of our civilizations along history. What draws attention more as well in her creative work, is the color harmony that resembles playing music on the surface of the canvas, which becomes more obvious as the size and dimensions broadens, reflecting & uniting when watching her work. As of concepts, it appears clearly in all the subjects of her exhibitions, which meets with great and wide contents related to history and life, together, As indicated in the title of her previous exhibition [ March 2006 at Cairo Opera House, Musical Library Gallery "Human Civilizations"]. In digging with her colors, brushes and pallat strikes on the surface with strong expressions, force, and flow of aspirations strengthening and intensifying as the paintings size extends, she tries to reach the extended history, it tenderly embodying in her vivid subconscious and self. Regarding her last exhibition Nov. 2006 at Portrait Gallery For Arts, I noticed that the main theme is broad as well. Where she interprets" South Echoes", The South of our nation extending within the depth of History and Africa. She stops at Luxor and Aswan, and at both the west and the East Banks, where the Karnak faces Nubia of early history with its kind and solid people enduring against both time and harsh rough life, and where the high dam protects us from the thunder Nile fload and its dangers that often drew us. The Echoes that she expressed in her last exhibition reflects the same comprehensive vision ( view ) ; Where she is taken during her creative performance, freeing her artistic soul giving it aspects to take off together with her vivid and palatt strokes . The more the surface extends and expands and widens the more vivid and live the performance is. Where the forms and the colors combine in transparent spirituality. As if the wide surface arises challenges and motivates her power of expression. Her style is as a whole Expressionism. The social and human aspect in her paintings is characterized by the human feeling for simple kind people almost forgotten along the history and for thousands of years. This south that symbolizes the patience of the faithful people that believe in the values of life itself, traditions and broad wide existence; creates another world for the capitals of the North with its highlights and noise that does not stop day and night. We see this in the painting of the " Echoes " of this exhibition, which is characterized by the large dance (that is considered the bride of the exhibition) where unity prevails, whether on the artist side or the visual characters of the work, with its expressionism movements that equals to passing time that continues, while the sheltering sunset keeps returning.