Jessie Bensimon

- Institute of Art and Archeology, Paris IV, 1980 - SACI, Studio Art Center International (Jules Maïdoff) Atelier Roberto Ciabani, Florence, Italy, 1981 - Atelier 63 (Joëlle Serve), Paris, 1981 - ENSBA de Paris, engraving workshops (Jean-Marie Granier), lithography (Abraham Hadad), drawing (C. Gilli), sculpture (Etienne Martin, Maurice Calka), 1981-1985 - Ottawa School of Art, sculpture in direct carving (John Salder), Canada, 1991 - Ateliers de bijouterie, Paris (Anne Boline, Payandeh Djahan), 1999-2004 The history of art and then philosophy brought me to the assurance that only the passage to the creative act could guide me towards this quest. So I am heading towards the very Platonic light of the Italian Renaissance in Florence, where a stay in the workshops of Roberto Ciabani and Jules Maïdoff gives me total immersion and a disconnection from the university approach. After this initiating experience, I returned to France and continued my artistic studies at the Beaux-Arts in Paris in sculpture and engraving, then in Ottawa in Canada in direct carving. Polydisciplinary for a long time, during my career I have used earth, marble and various composite materials including minerals in ceramics, jewelry and sculptures. Macro photography has also often served me as a tool of investigation and revealing of the infinite universes escaping our eye. Since 2008, the discovery of wire mesh, its lightness and transparency have allowed me to develop installations revealed by the play of natural light as part of an environmental art course. This same material worked like an organza offers by a specific lighting of the dynamic evolutions of which the curve is the principle. Movement and light reveal this. These compositions are presented in suspended mobiles or in silhouettes traversing the walls of a space as would a choreographic and moving ensemble taking possession of a place. These works speak of the femininity of movement, of its sensual contortion to the caress of light. They are both chimeras, unfolding in the air and jellyfish playing with oceanic flows. Their baroque language revolves around the spiral and the infinite. Serpentine choreographies, chatter, correspondence, breaths ...