CatherinA was born and brought up in Paris,
a city shaped by history, art and human emotion.
From an early age, she exhibited a fertile imagination and creativity
in sketching, painting and other crafts.

After completing a degree in business studies,
CatherinA began working for a leading blue chip company.

But the artistic calling was always present.
In 1993, after a 2-year sabbatical in Germany, CatherinA relocated
to London to pursue in earnest her career as a sculptor.

"To be moved, to love, to hope, to shake, to live, this is the the main thing.
To be first a human being, then an artist"

"The body is most of all the mirror of the soul
and from there comes its beauty"

A hundred years ago, Auguste Rodin summed it all up! Like him,
CatherinA draws her inspiration from an exacerbated love for the human
body and the many feelings it conveys as well as her own experience.

She named her first solo exhibition "Motions, Emotions", which could
also be used to describe what her work is all about, whether representing ballet dancers, simple human figures or her own innner feelings.

This love for the human body goes back to her childhood when she attended ballet classes for many years. She unfortunately did not become a "petit rat de l'Opéra"
(a "little Opera rat" is how you call the young children
trained at the Paris school of ballet!)
but remained very fond of classical ballet and contemporary dance.

Today, she likes to use her sculptures as a way of staging her own ballets just like a choreographer would use the body of a dancer to provoke an emotion, a reaction from the spectator. She draws from the movement of the body,
the tensions in the muscles, the intensity of a static pose
or of an equilibrium to bring out sensuality or despair, strength or fragility,
while trying to express a feeling of harmony and beauty.
She charges them with her own emotional power.

She reacts to people's movements, to the beauty of their gestures,
to their interaction with others and
her sculptures attempt to capture these fugitive emotions.

She is also attentive to her own feelings as a precise moment,
her own relationship to her body as a human being and as a woman.

While sculpting, her aim is primarily to feel
and try and convey these feelings through her work.

Therefore, unlike many artists, she does not work with life models,
but rather likes to concentrate on transcending her feelings or
the impressions certain events left on her to channel and
transpose them in her works, simply relying on her
knowledge of the human anatomy to replace the life model.

She recently expanded her style to portraiture
with the commission for a life-size bronze
sculpture of Young Queen Victoria
to adorn a small London Belgravia square.

She is currently working on an exhibition for the autumn of 2009.