The arTwins in Open Spaces, The European Capital of Culture – Pafos2017, Pafos, Cyprus.
A collaborative Project with Japanese architect Kazuhiro Yajima from 9-23 April 2017, Geroskipou, Paphos, Cyprus.
The concept of Project is Diversity and Unity. The project consist of 4 triangular poles. Each triangular pole represents diversity. Diversity makes the world an active place. Each triangular pole is not stable. It cannot stand by itself. They can stand by connecting each other. That’s why diversity becomes unity. The face are of friends whom I met during my visits to different countries. The drawings represent Diversity and Unity. The project reflects our world.
The project funded by:
EU-Japan Fest Japan Committee


Drawing on Canvas 2016, Mosan Art Museum, Gaehwa Art Park, Boryeong, South Korea.
The suffering of Korea during the occupation was what inspired me to do this project. During my stay in Korea I learnt about the hardship caused by wars, poverty, occupation, and the psychological effect of such occurrences on Koreans. The most affected at that time were women who were used as sex slaves. Which leaves me to speculate the horridness that their children went through witnessing their mothers being abused. The screams of those kids perceiving such acts are the most painful of all the horrific doings. A fear that lives with them till today and will haunt them for the rest of their lives. A child suffering has not ended in the world; their screams can be heard in Syria and the rest of the Arab world. Syria still bleeds and the screaming continues…


Drawing on wall, Salon of Youth 2012, Cairo, Egypt.
The anguish of an Egyptian mother who is mourning the death of her son in the January 25 Revolution. the work showed a black clad woman in various postures of mourning, kneeling and reaching with her hands to the sky. Her dead son’s heart, encircled by sun-like rays, dominates the top of the drawing, I use from Coptic Christian symbolism, which often portrays the heart of Christ with rays emanating from it, to comment on society’s mourning of its martyrs.
Drawing, 2016, pastel & pencil on paper, size 100 x 70 cm
Beauty From Egypt, Cairo Exhibition 2015, AB-Gallery, Luzern, Switzerland.
Pastel & pencil on paper.
Nefertiti, sekhemka, The Ancient Egyptian Writer, Isis, Osiris, and all other old Pharaonic Egyptian sculptures, have been stolen and sold with a very low price with or without buyers’ documents. The stolen Egyptian sculptures were shipped outside Egypt to decorate European museums and rich people’s houses. Thousands and thousands of antiques that present the history of Pharaonic Egypt were smuggled outside of Egypt. Till now, the Egyptian government failed to return them back. Before 1835, it was a customary that half the discovered tomb’s treasures goes to the discoverer. However, such a mutual agreement was canceled by a new law, which helped the Egyptian Antiquities Authority to legally ship the treasure outside. Except, mafia antiques is very active in Luxor, as they spread the local streets, carrying stolen sculptures in their pockets, looking for an interested buyer. These mafias are nothing but thieves who are constantly searching and digging for the hidden treasures of rich ancient art. Usually, they sell the antiques to cover their daily expenses while living a hard, unbearable life. During the Arab Spring revolutions some of the artifacts had been stolen from the Egyptian Museum and some archaeological sites in the absence of security, in that period, which agitated the global public opinion, again. In my project, I’m trying to explain the relation between the Egyptian painful reality and the past, how our ancient history was sold and smuggled in a plastic bag and a piece of paper or other means, and hand delivered to the outside world; how the gap between a civilization that consumes and the one that produce, yet we are all the same people. I’m trying to imagine the disregard of our history and the people who sold it. This makes you rethink the value of what we have lost as Egyptians and that fact that it was already too late to realize the naked, painful truth.


Mina Nasr Tadros_130x130cm
Drawing, 2015, pastel & pencil on paper, size 130 x 130 cm
Mina Nasr Tadros_130 x 130cm
 Drawing, 2015, pencil on paper, size 130 x 130 cm
Drawing, 2013, pencil on paper, size 100 x 70 cm, The 6th International Beijing Biennale, Chinese National Museum, Beijing, China.
Self Portrait, 2014, Pencil on paper, size 130 x 130 cm
Mina Nasr Tadros Preview for art work - Copy
Drawing, 2013, pencil on paper, size 150 x 150 cm for one piece, Salon of Youth, Palace of Arts, Cairo, Egypt
Drawing 2007, pencil on paper, size 150 x 100 cm, Salon of Youth Exhibition, Cairo, Egypt
Drawing, 2008, pencil on paper, size 120 x 70 cm, Salon of Youth, Palace of Arts, Cairo, Egypt 
Drawing, 2007, pen on paper, size 160 x 100 cm
Drawing, 2006, pencil on paper, size 120 x 70 cm, Pioneers Exhibition, Cairo, Egypt
Egyptian La Pieta, (after Michel Angelo), acrylic on wood, size 150 x 150 cm, The 5th International Beijing Biennale, Chinese National Museum Beijing, 2011, China.
Drawing, 2011, pen & mixed media, size 15×15 cm, Today Exhibition, Mahmoud Mokhtar Cultural Center, Cairo, Egypt