Ingie Aphlatoon an eminent plastic artist
Egypt, People, 4/17/2001

Long, before she had received any academic schooling, Ingie Aphlatoon took her way spontaneously to creativity. Conscious of his daughter's early talent, her father engaged a tutor to train her to drawn insects. However, Ingie rejected the inculcation technique of art education. Once again, her father sent her to studio Garouse Empere, a private art school in Cairo, which she abandoned only one month later.

Later, Ingie became acquainted with Kamel El-Telemsani, an artist who played a constructive role in the modern art movement in Egypt, who taught her through interpretation, guidance and introduction to heritage and modern art trends. The period 1942-45 provided her with a wide open window to a world of art, replete with beauty and excitement.

She taught herself in all fields of science, history, sociology, philosophy, economics, literature and poetry. Her progressive thinking and political activities have taken her several times to political detention.

Ingie's artistic practice was widely interwoven with her social activity. She made tours around the world, where she learnt a lot from world museums and modern art galleries. She learnt the principles of painting at the hands of artists during the period 1948-54. She learnt from Mago that painting should be from nature rather than from artist's memory. She heavily relied on speedy sketches and landscape including flowers, utensils, garments, cloth, etc.

She joined the Liberal Section of the Fine Arts School, where she studied under Bikar, Ragheb Ayyad and a galaxy of the masters of art. Ingie Aphlatoon's paintings during this period, were characterized with such vivacity that attracted the attention of European and Asian critics. Her creations were so varied and exciting, embodying the beauty of countryside, the calls of peasant women and chirping of sparrows and pigeons. She adopted a surrealistic and metaphysical technique which was reflected in her paintings; Flying Monster(1941), Black Garden(1942) and Vengeance of a Tree(1943). In 1948, she took a realistic and social turn, which was reflected in her first exhibition in 1951, where she made paintings on marriage, divorce and armed struggle.

Generally, Ingie's works are never devoid of the narrative, realistic aspect. In her paintings, nature is different from reality, it is rather a special nature of the artist's own creation. It is-as it were- another reality of the Egyptian countryside, it provides created dreams of real components.

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