Catherine Seghers is in a completely different register. Like an escape from those watercolors in Japanese or Chinese ink. Curiously, it is unconsciously linked to the book because if some see it as folded paper, we see the world of the book: so many books worked in fans, wings spread from writing to painting.
The missing daughter of publisher Seghers has, as if inadvertently or intentionally, imbued her work with her legacy.
Catherine Seghers studied drawing at the Colarossi studio, then at the Académie de la Grande Chaumière, where she was introduced to painting. Meets Hans Bellmer who introduces him to engraving. Work the intaglio at Friedlander. Exhibits in several galleries. Discover the monotype technique, and illustrate all of Louis Calaferte’s theater, as well as a collection of poems
Catherine SEGHERS studied drawing at the Académie de la Grande Chaumière in Paris in 1956, then engraving in the studio of FRIEDLANDER in 1960.
She meets André BRETON, Hans BELLMER and Unica ZURN, strong personalities who confirm her taste for drawing and engraving.
She has participated in numerous exhibitions in Buenos-Aires, Paris, Mexico City, Denmark and recently in Tokyo.
“Folded papers are at the heart of Catherine SEGHERS’s inspiration, in these series of female figures in bluish tones. Behind the serene tranquility of this world, nestles a delight of pleats, which echo the collage compositions also practiced by the artist.
The arch of the eyebrows punctuates the enigmatic slit of the gaze; “The ladies of Catherine” have fire on their cheeks in their impassive face; this blush betrays their secret sensitivity, who knows, their sensuality.
An evanescent grace matches the placidity of the massive nose that evokes oceanic statues. Are these mischievous deities watching over this world of folds? “