Selected Works

Ghada Amer
THE RED PORTRAIT, 2017
Glazed ceramic with porcelain inlay

Ghada Amer
CACTUS PAINTING, 1998
Cactus Elongatas and Verdologas

Ghada Amer
CACTUS PAINTING, 1998
Cactus Elongatas and Verdologas

Ghada Amer
LOVE GRAVE, 2018
Trimmed plants

Ghada Amer
THE BLACK KNOT, 2014
Ceramic
Work: 29.2 x 31.8 x 22.9 cm
Ghada Amer
YELLOW LINES, 2015
Ceramic
Work: 22.9 x 12.7 x 20.3 cm
Ghada Amer
A BLACK LINE, 2015
Ceramic
Work: 19.1 x 20.3 x 6.4 cm
Ghada Amer
The Heart, 2012
Stainless steel
85.7 x 107.3 x 83.8cm
Ghada Amer
You, My Love, 2011
Acrylic, embroidery and gel medium on canvas
Work: 127 x 165.1  cm
Ghada Amer
My Nympheas, 2011
Embroidery and gel medium on canvas
Work: 177.8 x 223.5  cm
Ghada Amer
The Sea Witch, 2011
Embroidery and gel medium on canvas
Work: 152.4 x 127 cm
Ghada Amer
100 Words of Love, 2010
Epoxy resin and acrylic
Work: 170.5 x 182.9 x 172.1 cm
Ghada Amer
Dreaming of Felipe-RFGA, 2010
Embroidery, acrylic and gel medium on canvas
Work: 71.1 x 80 cm
Ghada Amer
The Virgin without the child , 2016
Acrylic, Embroidery & Gel Medium on Canvas
127 x 106.7cm
Ghada Amer
You Are A Lady, 2015
Acrylic and embroidery on canvas
Work: 182.9 x 162.6 cm
Ghada Amer
Blue Ocean - RFGA, 2014
Acrylic, embroidery and gel medium on canvas
Work: 114.3 x 114.3 cm
Ghada Amer
PEACE GARDEN, 2002
Carnivorous plants (flytraps and pitcher plants)

Ghada Amer
HAPPILY EVER AFTER, 2007
Trimmed plants on stainless steel structure and teak bench

Ghada Amer
SCULPTURE IN BLACK, RED & WHITE, 2017
Glazed ceramic with porcelain inlay
Work: 57.2 x 86.4 x 53.3 cm
Ghada Amer
THE BLUE KNOT, 2014
Gazed ceramic
Work: 12.7 x 15.2 x 20.3 cm
Ghada Amer
GIRL IN RED LANDSCAPE, 2014
Glazed ceramic with porcelain inlay
Work: 64.8 x 58.4 x 2.5 cm

Biography

Ghada Amer (b. 1963, Cairo, Egypt) views herself primarily as a painter, but she has worked in a variety of media, producing ceramics, site-specific garden works, photographs, prints, drawings, installations, and performance pieces.

Her work has always explored ideas related to women, femininity, and gender roles. ‘I believe that all women should like their bodies and use them as tools of seduction,’ Amer stated; and in her well-known erotic embroideries, she at once rejects oppressive laws set in place to govern women’s attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimisation. By depicting explicit sexual acts with the delicacy of needle and thread, their significance assumes a tenderness absent within simple objectification. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love.

Amer’s work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads.
She has also created a number of text-based works, most notably the installation piece Encyclopaedia of Pleasure, which comprises fifty-seven canvas boxes inscribed with embroidered texts serving as investigations of sexual and spiritual identity. While her works serve as commentary on the roles of women, they also offer a critique of painting itself, particularly in its largely masculine Abstract Expressionist mode. Her incorporation of thread into the parameters of the canvas legitimates a form of expression seen as particularly feminine.

Amer has shown her work all over the world, including the Istanbul, Johannesburg, Whitney, Gwangju, Sydney and Venice biennales; in major travelling shows such as The Short Century; Looking Both Ways: Art of the Contemporary African Diaspora; and Africa Remix. She has exhibited at P.S. 1 in New York and SITE Santa Fe, and in 2008 the Brooklyn Museum hosted Love Has no End, a retrospective of twenty years of Amer’s work.

Amer trained to be an artist at Villa Arson, Nice, France.

She currently lives and works in New York City.