Born in Israel, Simcha Even-Chen awarded her PhD degree in 1990 in the field of Biology at Tel-Aviv University. She held a project Manager Position in a biotechnology company until 1993. During the period of 1994 – 1996, parallel to Postdoctoral position at the Biochemistry Department of the Hebrew University Medical School in Jerusalem, she was taking night courses in ceramic art at Rehovot Culture Foundation. In 1996 Simcha established her own studio where she is working up to now. In 1998, she gained a position of Senior Scientist at the Biochemistry Department of the Hebrew University Medical School in Jerusalem, which she held till 2013. In 2013, after 22 years at the University she decided to devote herself entirely to ceramic.
In 2011, she was elected as a member of the International Ceramic Academy (IAC).
Since 2000 her artworks have been exhibited in Germany, North Cyprus, Ireland, Spain, Austria, Switzerland, Slovenia, Korea, China, Romania, Italy, Croatia, USA, the republic of South Africa, Australia and Israel. She won multiple and significant international awards in the last 11 years. Her artwork became part of major museums collections in Germany, Italy, Spain, China, Korea, Ireland, Swaziland, USA and Israel, as well as Galleries collection (Slovenia and Australia) and private collections at different countries all over the world. Simcha’s artwork has been written about in several international magazines and she was invited to hold master classes and talks all over the world. During the recent years, she was a Jury member of several International Competitions.
Even-Chen exploring the relationship between “free” three-dimensional space and two-dimensional geometric surfaces, giving a visual meaning without restricting the movements.
She examining the material’s point of collapse and dealing with non-defined shapes, giving way to a new abstract, organic and free forms.
Her works are dealing with tension and balance at different levels such as: physical balance, tension between which is planned and which is not; between the expected and unexpected etc., all come from her scientific base of thinking.
Borrowed from graphic paper, the grid-like pattern that covers her works offers a precise, scientific result. Although the works appear to be floating in midair, lacking any center of mass, the black color formed during the firing process using the Naked Raku technique bestows the illusion of gravitational grasp.