JMS is a German artist and textile designer born in Dresden, Germany, in 1988.
Always drawn between art and design and loving to immerse herself in other cultural and linguistic environments, she lived for six years in Rome, Italy, from the age of 18.
Since 2013 she has been based in Paris, France, working as an Embroidery Designer for Haute Couture Fashion, at the same time as developing her personal abstract expression as a vital counter-practice to the minute and figurative work of drawing.
Contests & Art Prizes
2020……..ART MATTERS 2, Honourable Mention, Galerie Biesenbach, Cologne, Germany
2019………International Academic Prize of Poetry and Contemporary Art
…………….. ‘Apollo Dionisiaco’ , 6° edition, honourable mention, Rome, Italy
2019………Prisma Art Prize 1st edition, Rome, Italy
2013……..Miniartextil, 23° edition, Como, Italy
2013……..Artextures, contemporary textile art, 7° edition, France
2011……..Gruppo Miroglio, Elena Mirò Art & Fashion, Turin, Italy
2008…….Scholarship of Istituto Europeo Di Design Rome, Italy
2020…….PRIVATE VIEW 01 – October 9th-11th, Paris, France
2020……..11/02 to 01/03 Galerie Louchard, Paris, France
2007……..‘Mirror. Narcissus’, Atelier Bärbel Schäfer, Dresden, Germany
………………Salon international d’art contemporain Bruxelles, Belgium,
2021……….February 26th-28th, represented byVan Gogh Art Gallery Madrid
………………Salon international d’art contemporain Bruxelles, Belgium,
, represented byVan Gogh Art Gallery Madrid, postponed
………………International Academic Prize of Poetry and Contemporary Art Castello
2019……..della Castelluccia, Rome, Italy
….………….Artextures, 7° edition
2015……..Centre d’Art Contemporain de Briançon, France
2015……..La Manufacture Bohin, Saint-Sulpice-sur-Risle, France
2014……..Paris – mairie du 1er, France
2014……..Musée de la Toile de Jouy, France
2014……..Château de La Gobinière, Orvault, France
2014……..Tonnellerie de Brouage, France
2013……..Château d’eau de Bourges, France
2013……..Carrefour Européen du Patchwork,Sainte-Marieaux-Mine, France
.…….……….Eros – Miniartextil, 23° edition
2014……..Museo del Palazzo Mocenigo, Venise, Italy
2014……..Le Beffroi, Montrouge, France
2014……..Musée des Dentelles et des Broderies de Caudry, France
2013……..Villa Olmo, Como, Italy
………………‘The bond of art and fashion’ Elena Mirò Art & Fashion
2012……..exhibition of Pinot Gallizio at Teatro Sociale, Alba, Italy
2011……..cappella di Sant’Uberto, Reggia Venaria of Turin, Italy
2006……Kunstbibliothek Dresden, Germany
Photo by Michaël Guichard
Interview with François Beauxis-Aussalet
Johanna Marie Schimming, what is your background ?
I have always worked in both art and design. Shortly after enrolling at the Accademia di belle arti di Roma I won a competition for a scholarship in fashion design which made me persue my studies at the Istituto Europeo di Design Roma.
I have explored a wide range of disciplines in both art and design making it much easier and a more natural course for me to work in design, rather than exclusively in art.
With my aptitude in drawing I have worked as a haute couture embroidery designer. In relation to this discipline I have previously presented works in fibre-art exhibitions held in France and Italy.
I find abstract painting to be a vital counterpractice to the minute and figurative work of drawing and it occupies the most important place in my life today.
How would you define yourself as an artist ?
I am an abstract painter with a tendency towards minimalism. I aim to pare expression down to its most essential and to balance emptiness with substance.
I use few gestures, but they are strong and decisive, either spontaneous or the result of deep reflection.
A question I frequently ask myself ; ‘What can I add without weakening the work?’
What is your artistic proposition ?
The function of art is, most importantly, to offer a unique vision and to convey emotion.
Many artists, musicians, writers, painters, … use their pain and suffering as a major inspiration to their creation, both helping to deal with their lives and creating their most meaningful work.
For my part suffering does not drive my work.
When something bothers, irritates or saddens me I would rather let it out by playing, for example, some very fast passages of a composition by Rachmaninov on the piano.
I only paint once I feel good, centred, concentrated, curious and available, so that I can offer the best of myself.
I do not seek attention by disturbing or being subversive. My research is personal. Above all I am looking for authenticity of expression.
I offer my perception, my emotions so as to express and share harmony, integrity, depth, beauty and vitality.
How do you relate to the viewing public?
What I love about abstract art is its generosity. It lets space for the observer’s imagination as well.
I have observed that what I reveal about myself in my work, my state of mind, is very often perceived in the same way by different viewers. Added to this people will interpret according to what they like, know, recognise and what they need.
I never give titles to my paintings, other than their catalogue numbers, because I do not wish to influence the viewer’s interpretation of my work with precise words.
To the contrary, I wish that everyone may adopt each painting in his own way.
Who are your influences?
The artists who touch me the most and with whom I feel that I share the same gestural desire as well as similar forms of exploration are: Gerhard Richter, Hans Hartung, Joan Mitchell, Cy Twombly, Pierre Soulages, Olivier Debré, Jus Juchtsman, Francesco Guerrieri and André Marfaing.
My technique is similar to that of Gerhard Richter, the painter whose work has most influenced my own, and with whom, by the way, I share the hometown of Dresden in Germany.
My style differs from his, however, in my more minimalist approach, the importance that I give to emptiness and its interaction with gesture.
What challenges you as an artist?
The challenge is not to focus too intently on a single goal, but to remain open at all times and to surrender to wherever painting takes us.
I start each painting with an intention, but then it is intuition that guides me.
What I find intriguing in my way of painting is that there is a side to it which I do not entirely control. This is even the moment that gives me the most emotion, that allows me to feel completely present and alive, perfectly centred in the moment, interacting with what’s happening on the canvas.
It feels like a creative dialogue to me – a dialogue between my desire and, let’s say, that of the universe.
Perhaps it is this side of things which makes me feel that I am offering something bigger than myself, and not simply a predictable and perfectly mastered product.
One of my personal challenges is also to paint joy, without compromising the seriousness of its nature.
A last word ?
Art has this enchanting power to touch us profoundly. This exchange of beautiful emotions – the joy I feel when painting, the feelings that my painting provoke in the viewer, and in return the huge emotion I feel when people are sincerely touched by my paintings – creates a perfect circle that motivates me most to continue my quest!
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