Text by Jacob Klintowitz

Brief essay on time,
gods and immortality.

We might not know exactly what “broken hearts” are, synthesis that the artist Nadia Saad uses to designate her series of ceramics. But the meeting with the delicate filigrees that run through and define those pieces’ epidermis and the design now reveals itself, now hides from our eyes, and the unexpected surprise of irregularities of shapes here and there, interrupted and enriched by cuts and chips, gives us the feeling that the understanding will come by the onlooker’s complete surrender. Broken or open, ticking or immobilized, the heart is an adequate symbol to bear the emotion of this journey.
It is amazing how the artist follows the line, observes signs, feels the ceramic’s surface and finds the design and makes it the structure’s conductive thread. And the vision’s master guide. Hers is an intimate relationship with the material, as if both, artist and unshaped material were together in the task of creating sensitive object.
Her Os seus ceramic objects have a certain something of goldsmithery in the detail refinement, attention to preciousness, clear intension of marking the individuality of each piece. The tropism towards the identity is permanent and, in this sense, it is not possible to distinguish between the ceramic and the author due to evidence of the artist’s hand. In this case, through the focus that each ceramic receives, it is possible to perceive Nadia Saad’s path to build her artistic personality.
The minimalist character of conception allows to clearly observe how much organic these shapes have. And the constitution system of each one of these pieces stresses this nature: filigrees, goldsmithery, the painting after the firing, the translucent matter, the fine points made evident, the design as a revealing thread.
The organic nature of Nadia Saad’s shapes and the method of her creation – conception, firing and later intervention– offers us a perspective of trying to control the birth and existence process of each piece, as if the artist, in performing her high psychic concentration, challenges Cronos. It is an artistic action that will define the birth, life, and death, characterized in the creation of shape, dominion of inorganic matter, introduction of the vital principle through the ordeal by fire, in adopting as aesthetics fracture, fissure and fragility elements and, finally, using paint freely, euphorically and  deliriously.
Challenging Cronos. Or meditation about time. Or brief essay about time, gods and immortality. Nadia Saad places herself as craftswoman of creation and makes her ceramics individualized beings. More precisely, the artist’s identity and permanent dialogue with the brief life.

Jacob Klintowitz

Atêlie Matéria da Terra (Earth’s Material Studio) Sculptures and Ceramics - cel.: +55 11 9915 9910
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