Discover the contemporary work of Cati

Cati launched into a new professional world by joining the Van der Kelen Painting Institute in Paris. Brussels. This is where that she acquired and refined the techniques of faux wood, faux marble and the famous Flemish glaze. Rewarded with a gold medal, she began to study. à fully unleash your creativity. Today, his work is praised. and admired à internationally, making her an artist whose talent is recognized in the four corners of the world.

Artist residency:

• «In the footsteps of Joan Mirò», nursery schools of Saint-Martin – West Indies 2019

Auction:

• The Gallery, Colette Nimar – Hotel l’Impératrice, Martinique – West Indies 2019
• « One hundred works for one work», Auction of contemporary works of art for the benefit of the fight against leukemia, Hôtel des Ventes – Cannes 2007 & 2009

Exhibitions:

• BELGIUM, CANADA, SPAIN, FRANCE,  JAPAN, MARTINIQUE, MONACO, SAINT-BARTHÉLÉMY,  SAINT-MARTIN / SINT-MAARTEN, SÉNÉGAL, USA

"My world is made of desire, fantasy and imagination...

Nature, as you wish; of its seasons, guides my intuition, my moods, my colors... its materials inspire (breathe) in the successive layers and its force invades the canvas...

Depth is made of lightness, serenity and peace. of power...

Thus new worlds are born and each one, whether aquatic, plant-based or cosmic, intoxicates with its perception, shakes up with emotion, astonishes with its smells or releases an expectation...

My world is made of smiles, sweetness and a touch of mischief...

The love of life gives wings, the light shows somewhere else...

My path is made up of the flavors of discovery & of the game of dreams... to transmit the spirit of the world through the gaze..."

Cati

"My world is made out of desire. It was enchantment and imagination...

Nature, along with seasons change, guides my intuition, my mood, and color selections... Its material is inspiring (is breathing) within the superimposed layers and its strengh infuses excitement into each canvas...

The depth is made of lightness and powerful serenity...

So new worlds spring up and each of them, either aquatic, vegetable matter or cosmic, is dizzing perception senses and turning upside down emotions or releasing expectations...

My world is made of smiles, sweetness and a touch of playfulness...

Love for life gives wings, while light shows a somewhere...

My way is made of discovery flavors and dream games... for transmitting the world spirit at a glance...”

Cati

Strange objects of desire

April 2010

By Jean-Paul Gavard-Perret

Cati Burnot, aka « Cati » deploys his creative power especially in his paintings and sculptures. Far from any narrative, the artist uses the own language of these two techniques. Both plunge us into an abyss of complexity. However, femininity round shapes take the greatest place even when his sculptures offer strange erections. Each time, roundness is essential. À through balls, circles, rings, the image takes shape. A sort of animality emerges; or rather a visceral element which offers nothing beastly. Cati evokes, as she writes, “the game of dreams to transmit the spirit of the world through the gaze”. But this look and this world respond to feminine principles which make the work inimitable. We must therefore begin the descent into hell or into feline paradise. and femininity.

In the sculptures, the masses are fleshy, unpredictable but in the dark they deepen the opaque and force us to understand. wander. In the paintings, the hoops follow one another. The work carries away in its tender cruelty and its gentle violence. Especially since with Cati we never find ourselves in nostalgia or pretense. The depth of the painting is born from a particular softness. Its serenity comes not from letting it happen but from a recovery and a form of closure and weaning within the scope itself. Give to see the world itself and above all a new world to see. both aquatic, vegetal and cosmic pass through this force of construction. They open in their red circles to the a wait, an emotion full of riddles.

Apparently Cati leaves gaping interstices, but so that in a sort of amniotic fluid the gestational forms take on and find all their power. We feel through such “language” the body that speaks its femininity. Fire mixes with nature. water. The shadows of infinite silence are seen through transparency. The months of life are experienced in depth. The brush stroke travels through the range of colors. And we imagine the artist, his gaze bent towards him. on the canvas letting his brush run to write his fortune and the talismans of the alphabet of the days.

We can talk about the oxygen in such paints. As if something was revealed despite everything. the artist and which it would not be appropriate to know. However, this is not a calculated erasure. but of a form of dilution or decoction of the presence. Through this transubstantiation it becomes the prelude to infinite maintenance of the works. These latter outline an essential comeback. That of a lost address and sending – in the medieval sense of the term. Paradoxically and even if her aesthetic is not realistic, Cati therefore goes to the heart of things. His series of bare takes, stripped down but rich in ambiguous swirls, find a balance between the ellipse – turned towards the restriction of forms – and the statement complex – shot towards the middle where these shapes bathe.

There remains the need to of the secret and the imperative of the image between the body of life and the body of the canvas – which is paradoxically here – a bit of the same thing. The artist's gesture plunges into the territories whose principles she makes us touch. In these, as the artist writes “The love of life gives wings, the light shows an elsewhere”. We could almost speak of disturbing mosaics for these works which assert a double transparency: that of oneself to another; nature, that of nature to; self.

Cati is capable of showing what we have denied ourselves; à see while being too sure of our male-ignity. The artist creates as if by Prouvette or “under X” a portrait of the world as we have never seen it. No doubt (or who knows?) because it bothers us and the male’s unconscious has a hard time dealing with it. get used to it. The artist seeks in fact what men ignore. She brings them back to life. the opening in the moment of the first chord. The sharpness of its rim becomes a threshold. It also becomes the seat on expanses and lagoons. From compact to fragment, from transparency to the incision plays out the inaccessible adventure of being, of the destiny of its traces. Hence for the designer the approach of a “conjugality” new, of an unprecedented future. Persistent flow, insistent dispersion. The image resurfaces sparse and homogeneous. Fault (opening) and presence remain in a communicating confrontation.

Jean-Paul GAVARD-PERRET

Né in 1947 in Chambery, Jean-Paul Gavard-Perret is a lecturer in communication at the University of Paris. University of Savoy. He pursues a literary reflection already punctuated by of around twenty works and collaborates on several magazines.