In art, the end is the means.

This opening, formulated by a philosopher and teacher, had opened the path of the encounter between myself, the world and its matter.

These words still resonate, modulate through my path as a leading thread, as a crossroad of cross-cuttings, crossings, declinations. The means I use succinctly is making connections, starting with matter and colour then air, textile, movement, time… I create a painting, a pattern of light, a photography of the matter, and I build a volume, a textile as a mobile architecture. And I assert the idea that painting is a structure that matter ennobles and that textile is a painting that colour dresses; there is in those surfaces, those volumes, a flow, a constant transverse movement which embellishes a thought and conceptualizes an effect.

I explore all of that in tied points, always in transversality, and crossing this skin of things, I try to infiltrate the structure of the matter, the one that is at the origin of all things. Organicity of a thought, corporeality of a lived experience, the plastic expression is before anything a matter of sensoriality. The body is its vector, where ideas and effects come pulsing from the gesture; to inhabit your body to produce the communicating matter of a vision which never ceases to evolve, to know the being: the existing as aesthetics of a life.

In this will to give meaning…

"It's more like i'm having an experience than making a picture"

 

"It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task. The line is the feeling, from a soft thing, a dreamy thing, to something hard, something arid, something lonely, something ending, something beginning. "

Interview with David Sylvester, 2000

Leading thread of a path

Born on 13/02/1980 in Toulon (France), live and work in Paris.

1999 to 2001, Catherine Aznar studies plastic arts at the Aix-Marseille Faculty of Arts, Letters, Languages and Human Sciences.

2002, she leaves her native south-east for Paris to finalize her education through a plastic arts Master’s degree obtained with a Very Good Mention at the Sorbonne-Panthéon University. There, she develops her personal artistic approach through research seminars, and writes and presents her thesis “The in-between as visibility of a fault” as a theorisation of her pictorial practice and installations through her material of predilection, textile.

2002 to 2005, she joins the National Superior School of Decorative Arts of Paris, specializing in textile design, from which she graduates in 2005. Her end of study thesis “Pictorial art/Textile Art, the question of overlap” finalizes her curriculum and the major stakes of her artistic approach which places plastic art as a vector for decorative art.

Transversalities of a course

2005 to 2010, she essentially works as an independent textile designer in various areas such as trend research, decoration and especially fashion for luxury houses such as Chanel, Balenciaga as creator and designer of materials, colours and prints.

Starting 2008, alongside her designer activity she starts a teaching function in plastic arts at private schools of applied arts and art workshops.

Her diverse experiences in design and her plastic arts expertise have led her to place forward her approach of creative and pedagogical conception which highlights plastic arts as a first strain for all creation, be it artistic, decorative or applied.

Since 2012, she mainly develops her own creations in a personal approach derived from her reflections and her interest in research and innovation. She also takes exclusive orders from private individuals, companies (like Sonia Rykiel) or real estate developers (like Nexity Apollonia) for who she creates art pieces and original designs. In parallel, her pronounced taste for movement, creative gesture and the body in its expressivity led her to experiment work around gesture, inscribed in an experienced space and temporality, and through ephemeral creations and expressions which are transcending beyond their material traces.

This approach is leading her on the path of performance which she is developing through encounters with musicians, poets or dancers with who she expresses shapes, narrations in the authenticity of the body and the gesture; a transversality where time, space and the crossing of areas have no end and no limit.