Omar El Nagdi presented his collection of paintings at Tabari Artspace Gallery in Dubai, showcasing expressive textures, vibrant colors, and Egyptian symbolic design. His paintings breathed life into timeless symbolism, transcending mere decoration and embracing a blend of humanist and mystic sensibilities. With a poetic and sensitive approach, El Nagdi skillfully incorporated elements from Pharaonic and Islamic cultures, reflecting his perspectives as a modern individual.
Born in Cairo in 1931, El Nagdi embarked on his artistic journey at the age of 22, pursuing his dream of becoming an artist. He enrolled at the Faculty of Fine Arts in Helwan University in 1953. Throughout his studies, he actively participated in numerous exhibitions and Biennales across Egypt, Europe, and the former Soviet Union. In recognition of his talent, he was granted a one-year scholarship in 1959 to study ceramics.
Over the course of his career, El Nagdi received several prestigious awards for his paintings and expanded his artistic repertoire to include sculpture, directing, music, and philosophy. His exceptional mastery of symbolic design garnered attention, leading to the publication of several books showcasing his work in Europe and Egypt.
El Nagdi drew inspiration from his Islamic heritage, establishing himself as a true master of this form of art. Growing up in Bab Al-Shaariya, near the Al Shaarani Mosque, he developed a deep appreciation for calligraphy from an early age. Recently, visitors to the Museum of Letters and Manuscripts in Paris had the opportunity to admire some of his remarkable creations.
Expanding his artistic vision beyond the physical realm, El Nagdi expressed, "God created perfection and absolute beauty in a world of eternal being before man was created. He created the world of transcendental, light-giving logos before anyone could read it, as it preceded the creation of man. When God created man, his first command was: read."
The Arabic alphabet encompassed a wealth of geometric elements, both in its three-dimensional and two-dimensional forms. Observing the Arabic letters, one could almost envision the delicate touch of a hand exploring their calligraphic potential, tracing their various paths, transitioning from circular to angular, following the graceful curves of their nature, and aspiring to the heights of architectural splendor.
Consider the letter (I), with its captivating concave structure and elegant finishing, or (a), with its subtle composition and adaptable form. There was a poetic quality in the interconnectedness of Arabic letters, and a sense of subtlety in their flowing nature. In the hands of a skilled artist, the scope for innovation was boundless, and for the daring and adventurous, it was nearly limitless.