Girl painting
Jehanne-Marie GavariniProfessor
  • College
    College of Fine Arts, Humanities and Social Sciences
  • Department
    Art & Design Department
  • Phone
    (978) 934-3585
  • Email

Research Interests

Art, New Media, Electronics, Visual Studies, Visual Culture, Cinema, French Cinema, Postcolonial Studies, Gender Studies, Translation


Jehanne-Marie Gavarini is a visual artist whose work has been exhibited extensively nationally and internationally. In addition to her artistic work, Gavarini writes about art, European cinema and visual culture. She is co-translator of Tomboy (University of Nebraska Press, 2007), an autobiographical novel by acclaimed Franco-Algerian writer Nina Bouraoui. Recent publications include “Shifting Sands: Imaginary Space and National Identity in Cédric Klapisch’s Peut-être in ”Postcolonial Film: Imaging Identity, Culture and Resistance (New York and London: Routledge, 2014), “Visual and Linguistic Frontiers in Abdellatif Kechiche’s L'Esquive” in Frontiers of Screen History: Imagining European Borders in Cinema, 1945–2010 (UK: Intellect, 2013), and "Rewind: The Will to Remember, the Will to Forget in Michael Haneke's Caché" in Millennial Cinema Memory in Global Film (New York: Columbia University Press, 2012).

Selected Publications

  • Gavarini, J. (2014) "Millennial Tropes of NeoEmpire. Shifting Sands, Imaginary Space, and National Identity: Ce´dric Klapisch’s Peut-e^tre (1999)," Routledge 30: pp. 115
  • Gavarini, J. (2011) "Intimate Passports: The Subversive Performances of Tanja Ostoji," Aspasia 5:1 pp. 112-127
  • Gavarini, J. (2011) "Rewind: The Will to Remember, the Will to Forget in Michael Haneke's Cach," Millennial Cinema: Memory in Global Film pp. 192-208
  • Bouraoui, N., Salvodon, M., Gavarini, J. (2007) "Tomboy / Nina Bouraoui ; translated by Marjorie Attignol Salvodon and Jehanne-Marie Gavarini,"
  • Gavarini, J. (2006) "In the Still of the Museum: Jean-Luc Godard's Sixty-Year Voyage," Postmodern Culture 17:1 pp. 5-5


Overgrown is a large installation created for the David Winton Bell Gallery at Brown University’s List Art Center. Overgrown resembles an imaginary garden. The installation consists of oversized sculptures that evoke carnivorous flowers and other suggestive life forms. As a whole, Overgrown’s elements look biomorphic, but these organisms also spring from remnants of consumer culture. Found objects, hard plastics and soft materials are combined in seamless and humorous pieces that could be the product of someone’s dream or imagination. Likewise, they could be the result of human activities such as our recent discoveries in biotechnology or our mad consuming habits


This body of work is created by GavART a faux-art company that redesigns design. GavART produces quirky companions and eccentric electronics for today’s discerning consumers. The series combines found objects, hard plastics and soft fabrics with circuit boards and electronic components. 

GavART uses recycled materials whenever possible, making each piece unique. We dare not pretend that our products are green or sustainable because of our use of electronics and our love of the smell of melting solder. The fake fur used in our products neither intends to emulate, nor condone the killing of animals for fashion. Rather, it represents a functional decision based on our sense of aesthetics and humor. Our products are cruelty-free and not tested on animals.