Miriam Cabessa was born in Morocco in 1966 and grew up in Israel. She had her first solo show at the Tel Aviv Museum in 1995 and represented Israel in the 1997 Venice Biennale. She exhibited in the Morris Museum, NJ; Herzilya Museum of Contemporary Art, Israel; Ben-Ari Museum of Contemporary Art, Israel; the Jewish Museum of Pittsburgh, PA and the Kresge Art Museum, MI, among others. Her work is in the collections of The Israel Museum, Jerusalem; The Tel Aviv Museum of Art, the Haifa Museum of Modern Art, The National Museum of Women in the Arts, Washington, D.C. and Texas State University (1991). Scholarship include: American-Israeli Cultural Foundation (1994 and 1995); Ministry of Science and the Arts Prize for Young Artists; The Nathan Gottesdiener Foundation Israeli Art Prize (2001); International Studio & Curatorial Program, sponsored by the NY-Israel Cultural Corp. Commission; Artist Pension Trust (2012).
Miriam Cabessa’s work concentrates on the act of painting. Working on canvas masonite and paper, she employs a performance based technique while using a deliberately limited palette. The result is mostly abstract and systematic. The hands, the fabric, the squeegee and the iron are used to imprint a mixture of form and body onto the canvas. Her gestures are reminiscent of Jackson Pollock’s action painting and her use of her own body as a painting device are referencing Yves Klein’s use of models for creating a painting. Cabessa is also very much influenced by Agnes Martin’s strict Minimalism. A systematic discipline of an image that seems very controlled and precise. Cabessa always says that “I keep adopting artists as parents, and I feel like I’m carrying their genetic code.” This genetic code created a Feminine Abstract.