In 1990, she graduated from ESAG Penninghen, the Higher College of Graphic Arts, and started exhibiting in Parisian galleries the following year.

She would be rewarded by Prix Pégase for those last two books which testify to her passion for illustrations of all kind of horses, Arabians being her favorite.

Art reviewers have often praised the elegance of her stroke, the delicacy, the accuracy of anatomy, the movement and dream like quality expressed in her works.

She discovered horses when she was five years old, riding poneys in Paris, at the Luxembourg garden where she fiercely refused to dismount.

When a child she used to run to the balcony of the family flat in Paris whenever she heard the clattering of hooves as the Republican Guard were riding by.

Marine Oussedik went on studying, " filling her notebooks with horse drawings ", to the point of the margin took over the writing space.

Her artistic talent enabled her to enter Pennighen Higher College of Graphic Arts where she was a student for five years, centering her work on the world of horses.

She graduated after presenting a humoresque booklet about horse races[3] in the style of Idées Noires, a collection of black comedy comic strips drawn by Franquin.

Then Amaury de Louvencourt (owner of La Cymaise gallery, rue Faubourg Saint-Honoré in Paris and an art expert) discovered her works and immediately invited her to prepare an exhibition.

It led to the creation of her first art book Les chevaux d'encre (1993) published by the Living Museum of the Horse.

She remains humble as to the success of her works : « Chivalrous, the young woman doesn't swell with pride, tries oil painting and sculpture while her ink lines keep galloping with spiritual sensitivity (…) we can only rejoice that Marine Oussedik had no gift for maths, " the veterinary association " she wanted to join would have stolen a great artist! "

– Côté Sud In 1998 the book service of Algeria called upon her to illustrate a new edition of Les chevaux du Sahara.

In 2002 she hosted a presentation of her works about horses, followed by a workshop at the Arab World Institute in Paris ; her book Les chevaux du vent, oiseaux sans ailes, was published at the same time.

[5][11] In 2004 she was awarded the prix Pégase (Pegasus literary prize) by the academy for the advancement of equestrian culture (ACDE).

Marine Oussedik became known for her works made with ink representing harnessed horses on colored and gold papers.

She is on the lookout for rare and quality papers like those made in Egypt by the garbage collectors in Cairo who press the sheets at the drying stage.

[13] For Marine Oussedik the art of sculpture and that of drawing are complementary both needing to be " as exact as possible whatever the position of the horse "6,36.

Original items were on display during the " Variations Équines " exhibition in 2012 centered on " Le cheval amusant " (fun with horses) at the museum-castle in Nogent-le-Rotrou.

During the show " Celebrating horses ", organized by Jean-Louis Gouraud at Maison des Cultures du Monde on September 23, 1998, she was filmed drawing live on stage in front of an audience.

In the early part of her career, her works appeared as silhouettes of horses which, as time passes by, become three-dimensional and full-bodied.

She sees them as the " jewel in the box ", enhanced by the rich settings they are often associated with such as stable rugs, colored saddlecloths and harness, the desert atmosphere as well as their companions sloughis and falcons.

The accuracy of anatomy and their delicacy, especially when made with ink, have been widely noticed by art reviewers : « Thanks to her very accurate lines, the horses that Marine Oussedik shows us are not domesticated but tamed ", says one of them.

[18] Blaise de Chabalier, art reviewer for the French national daily Le Figaro, mentions the " sophisticated and sensual atmosphere created by the complicity of bodies and looks ", the dreamlike quality of her drawings allied to a realistic approach, when liberty of movement meets civilisation as expressed through harnessing.

[9] Xavier Viader in the racing daily Paris-Turf defines her work as " elegant, spontaneous and alive " and sees her as a descendant of Géricault and Delacroix, adding that the accuracy of anatomy is no obstacle to the emotional quest of the viewer.

[10] " A delicate but powerful stroke of pen, hints of colors, a dash of white and an eye becomes alive... Marine Oussedik's horses don't need to be signed by the artist, they are her signature ! "

[14] After reading Les chevaux du vent, writer Jérôme Garcin dedicated a paragraph to her in his book Journal équestre : " as an illustrator, she demonstrated a dual skill : her ink brush has an almost ethological accuracy but she keeps us dreaming.