Ghada Amer is an artist of paradoxes, a complex woman who hides her strength in her doll size and her reserve as a girl from a good family.
And yet, as soon as she speaks, this Egyptian, who was born in 1963 in Cairo and grew up, from 1974, in Nice - where she did the Villa Arson - following her parents, intellectuals pushed to exile by the Yom Kippur War in 1973, is voluble as a Southerner.
We can say that it expresses itself first by what it does not want.
To be summed up as a female artist.
To be labeled an oriental artist.
To be kindly classified in the gentle revolutionaries of art.
To be placed in the too feminine camp of textile artists, where strong natures nevertheless camp, from the Americans Sheila Hicks and Barbara Chase-Riboud to the late Polish Magdalena Abakanowicz.
And yet,
she is all of these at the same time.
Both his art borrows modest paths, usual tools, almost disdained, to make his voice heard, loud and clear.
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