Article Arts and Artists

Nadia Saad in Japan’s good winds
Without doubt, 2008 was a milestone in Nadia Saad’s life. And in many ways. Everything begun at the end of 2007, when the ceramist won the Gold Medal at Bunkyo Great Art Exhibition of 2007, guaranteeing a trip to Japan as prize. After organizing documents and itinerary, Nadia went on a trip that definitively change her way of connecting with the world, ceramics and herself. As soon as she returned to Brazil, she went back to her work, organizing an individual exhibition “Ponto de Mutação,” at Banco Central Cultural Space, in São Paulo/SP. The event will be open to the public up to October 20th.
Tireless in Ceramic Art work, Nadia Saad has her studio in the Vila Mariana region. Between kilns, materials, instruments and clays, inspiration comes naturally, leading the artist to an unexpected result: spheres, which at every new phase assume even greater proportions. All over the place, we find hundreds of pieces in ceramic. Each one has a story, which the ceramist keeps alive in her memory.
Winning the Gold Medal was not on purpose. Nadia decided to participate in order to present her work to the public and, mainly, to mould ceramic, one of her greatest joys. The prize, which ended with the trip to Japan, made one of her greatest dreams come true. It marked a moment of reflexion of her career, in which the artist reveals herself, matures talent-wise with clay moulding and in dominating the technique and firing. “The production process of a sphere is similar to other ceramic objects, but the execution time is much greater, in comparison to other pieces. And because of its volume and weight, everything becomes more critical and fragile”, she adds.
In the right direction
Audacious as a ceramist, Nadia also is irreverent as a woman. She exploited the maximum of the award offered by the Brazilian Society of Japanese Culture and Social Assistance– Bunkyo. It was 21 days of a very rich journey in knowledge, information, and identifications. At the very first contact with the studios, she found herself looking at Bizen Ceramics, and noticed a clear connection with her work.
She visited numerous ceramic centres, which follow a concept similar to our Maragogipinho (the Brazilian way) or Cunha (the Japanese way) centres. With the Japanese, Nadia perceived even more the value of the natural resources present in Brazil. “The Japanese do not miss a drop of water. In spite of being more sophisticated, they also are stricter and more aware, as natural resources are scarce in that country,” explains the ceramist.
Nadia met Japanese ceramists who face waiting queues to acquire wood for firing, search for clay in mines, digging the earth and kneading mud to prepare the clay. In studios, use of Anagama and Noborigama kilns predominates, which must be economical and productive.
Nadia lived several days beside ceramists and, with no intention of learning techniques; she tried to “experience Japan.” Without expecting anything, she gained a lot. She had the chance of working during two days in a studio, attended by Portuguese ceramists. She helped to assemble an exhibition and experienced the regional techniques, working with clay. As she defines: “In my trip, I went to experience Japan.”
She found hospitable, curious, and trustworthy people, who made her “feel at home.” In Japan, she was surprised by the people’s trust, and she let herself be taken by the good eastern winds. Thanks to the trust gained from the Japanese, she took part in great meetings between ceramists that she did not know. “In spite of language appearing to be a barrier; we all managed to communicate with each other. It is always possible to exchange ideas if we wish to do so. Language differences do not count,” she recognises.
Even not knowing exactly “which way the train would go,” Nadia trusted the information given by Japanese: “It is much easier to conceive a work in a country where the people have quality of life, people have attained maturity and tranquillity to work peacefully,” analyzes Nadia.
Nadia Saad returned to Brazil sure of many things. Among them, knowing she had left the doors open in Japan, a country to which she intends to return. The ceramist thanks Bunkyo Society generosity, the tips she got from the judges to organize her travelling itinerary to Japan and winning the Great Gold Award of Bunkyo Great Art Exhibition of 2007, participating with the following works: “Filigranas em Porcelanas de Várias Cores” (“Filigrees in Porcelains of Several Colours”) “Esferologia Metamórfica in Raku” (“Metamorphic Spherology in Raku”) and “Esferologia Metamórfica in Porcelana” (“Metamorphic Spherology in Porcelain”). Her work was on the cover of the 25th edition of Mão na Massa (Working Clay) Magazine.


Exhibition Ponto de Mutação – Venue: Banco Central Cultural Space, São Paulo/SP – Avenida Paulista, 1804 – Ground Floor.

between the 3rd and 20th October, always from Monday through Friday, from 10:00 a.m. to 4:00 p.m.
Information also on the site www.bcb.gov.br.

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