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As of 1981, Bessouet lived in New York City as a full-time artist. She continued to explore her work with dolls. The dolls she created in New York were dramatically different than those in Spain. The dolls were "androgynous, "angelical," winged and made of transparent materials." The dolls have been
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Despite some success in
Argentine competitions, Bessouet struggled to find commercial success and appreciation in the gallery scene of Buenos Aires. She was rejected from major galleries because she was a woman artist. She did not identify collectively with feminism and the female struggle and chose
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described as "emblems of feminism" and "sexless creatures," by Garsd. While in New York, she focused primarily on painting, with her androgynous dolls making appearances in her work, often as erotic figures in mystical environments.
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376:"An Artist's License to a Child's Dream: Argentine Painter Norma Bessouet Evokes the Still World of Young Girls Disconnected from Life's Adult Realities"
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Bessouet worked in both New York and Buenos Aires and did not use professional models in her work, preferring to work with people she knew personally.
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Art historian Marta Garsd has cited
Carballo as being the primary influence on Bessouet's painting, including the introduction of the works of the
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and the female nude. Her paintings were abstract in their style and she also created equally abstract wooden dolls.
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Garsd, Martha (1992). "Hide-and-Seek: Looking for "Woman" in the Work of Norma
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In 1974, Bessouet relocated to London, England. She was awarded a fellowship from the
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of the fine art world independently rather than with other women artists, like the
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painter and sculptor. Bessouet's work focused primarily around portraits,
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350:"Norma Luisa Bessouet – Consulta de personas fallecidas y obituarios"
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in London and also spent some time working in Italy and, in 1976, in
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Academia de Bellas Artes
Prilidiano Pueyrredon (1968)
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242:Pierre Francois Jumeau
202:Lino Eneas Spilimbergo
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