We might prefer to forget how much art can disturb us. 
For Catherine S. Wolff, there is no such question. Her painting does not aim to disturb nor reassure. It is a breath, a plane of existence leaving her to be undisturbed, rightfully so. 
She paints harshly, just like she breathes: nothing harsher than her forms and themes. 
And yet, approach this woman, her laughter, "enaurme" will prevail. 
No apparent anguish or pathetic refrains. She comes and goes, in real life, light as a feather. 
Not her paintings, which exhibit that which could not be otherwise, permanently. Painted, this depth of work, stirs up the unspoken face, and exposes a raw and naked material, undressed, unfiltered. 

The barren sex and fear.
From what the brush seizes, one may fear the worst; but this is never done without a purpose or foreword. A marking, idiosyncratic event, prompted this environment, sentenced to death, sentenced to love. 
Has some lover, maybe some injustice wounded her ? Then Catherine S. Wolff will swiftly settles scores, as in duel. Dual? No, she is but a single piece, whereas those she strikes get twisted. The negative aura emanating from her work should come as a surprise! However intimate it may be to her, they are not to be confused: her painting are separate, more wicked, more accountable of reality. 
However a connection does exist : "Humor ". Humor in the face of love, humor alongside love. Laughter let her to approach this sex we don’t know how to witness without it being spitted in our face, bitten, gazed at. Our sense of correctness will be unleashed; but Art, has preceded it. And assumes it.
Omnipresent, sex of this Art, is it hate or love? It is above all an preservation of action, aiming at the essential: the nudity. This nudity which, smaller ground of agreement, capture the truth. Is there art more bare than this one ? Suspension of time and the sexes. Is the relationship between men and women made to suffer ? Who is afraid ?
"Who is afraid of Catherine S. Wolff?"
Frédéric Amblard


Catherine S. Wolff was born in 1969.
After a classical education (Hypokhâgne et Khâgne, licence of archaeology, CAPES of History and CAPES of History of Arts), she turns to artistic studies: Preparatory Certificate 1 and 2 of the MST of Conservation-Restoration of cultural goods, Paris-I and Ecole Nationale Supérieure des Beaux-Arts, Vélikovic workshop. 
She pursued her training as a painter with Frédéric Amblard.
She took internships and sessions in various cultural institutions (restoration laboratories / UNESCO) and creates several theater sets for Théâtre du Frêne, Plan Large and Vif Argent.
She lives, teaches and works in Paris.