Marianne Anselin

Bio

Marianne Anselin was born in Lille in 1980 and has worked in Paris from 2004 to 2024. At the end of 2025, she has moved to Corrèze with her family. She has studied in France and Switzerland with Sophie Hanagarth, Esther Brinkmann, and Gilles Jonemann. Since 2005, her work has been exhibited in permanent galleries in France, Switzerland, Germany, Belgium, and Canada. Her first solo exhibition took place in 2009 at the Espace Solidor in Cagnes-sur-Mer. She has been invited to participate in famous exhibitions in France, such as “Dans la ligne de mire, scènes du bijou contemporain en France” (In the Line of Sight, Scenes of Contemporary Jewelry in France) at the Musée des Arts Décoratifs in Paris, “Reflet(s)” (Reflection(s)) at the Palais de Tokyo, and “Médusa, bijoux et tabous” (Medusa, Jewelry and Taboos) at the Musée d'Art Moderne in Paris.

Her work is represented in private and public collections: Musée des Arts Décoratifs in Paris, Musée “La Piscine” d'Art et d'Industrie in Roubaix, Collection du Musée du Bijou contemporain - Espace Solidor in Cagnes-sur-Mer.
In addition to her personal research, she enjoys teaching and collaborating with traditional jewelry brands/. Since 2016, she has also been deeply involved in PARCOURS BIJOUX, a triennial event in Paris.
 

Statement

I’ve been exploring metal for about 20 years now through many techniques. I walk and search through nature, and then i create and handcraft jewels in my workshop. I roam mountains, wasteland and wild land, long valleys, brownfield areas, and abandoned houses. I gather what has been left behind, forgotten, everything that resonates with my aesthetic approach. Tincans, cartridge shells, wood, leaves, rusty drums, patinated by wind and rain, they become my main raw material.

Transforming these rusted industrial objects into pieces of jewelry allows me to look into another kind of preciousness: the way time marks matter. So I forge metal to red and I feel that I am fully utilizing the metal’s material properties: distort it, stretch it, shrink it. That hand-to-hand combat with matter, amplified by noise and heat, leads me to a purely formal study of metal, backed up by the search for colour through flame patination. My workshop is the place of this transformation, where preciousness means gazing between nature and culture. Forging is like walking, it is physical, a rhythmic action that demands at once concentration and letting go, akin to méditation.
 

CV      

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