The artist finds inspiration in poetry, show business and especially the circus. She uses cardboard supports and paints with oils and gouache.

I like to paint on Kraft paper. It allows me to work in transparency, leaving the beautiful colours of the paper to show through. I can also vary the size of the paintings.

Cathy Josefowitz experiments with the sensual and versatile texture of oil pastels. Once again she uses one of her all-time favourite supports: workbooks.

Workbooks and felt-tips: Cathy Josefowitz can never part with them. She considers them necessary tools of her work, indispensable for "taking notes" on what goes on inside and outside on a daily basis.

Cathy extends movements that are usually cut too short. Sketches on paper, figures in space, self-portraits and portraits.

Cathy liked to travel and hang out in cafés, restaurants and hotels. She painted on restaurant tablecloths from smallest café to fantastic hotel bills.

During this period, the artist was pregnant and fascinated by the transformation happening in her. She felt her sensuality, her instinct and animality to the highest degree.

A monochrome series painted with oils in which we notice the transparency and which separates the drawing from the light.

A series of oil paintings on rough canvas, worked in transparency in the same way as the series on Kraft paper.

Oil paintings on canvas. The artist has moved back to Paris. "I feel a joy in painting in Paris. I feel 'at home'. "

This series was born after the sale of a small painting called " L'appartement en face du Musee Rodin". Once I'd sold it, I missed it. I tried to recreate it, "unsuccessfully" and it became a passion for me. That was the start of the serie.

Large oil paintings on Kraft paper.

The first phase of this serie is called "chorégraphie" and the inspiration behind it is a choreography that Cathy Josefowitz put together in 1989. These works are dedicated to a friend of Cathy, a dancer, who died falling off a cliff. The red chair is the main character and falling, the main movement.

The yellow doors are the brackets around my private life. They represent the end of a relationship with the father of my son and an enlightening trip to Israel.

This serie is a suite of the first phase of "Chaises rouge" - "chorégraphie".

The base material is Kraft paper. On blue (and sometimes red) backgrounds, these are fragile and ephemeral sculpture-paintings in which the images are accentuated by strips of glued paper, woven into the work.

The 'Squelettes' serie is about my fascination with the human body: its vulnerabilities and strength. The skeleton, for me, is not a symbol of death but of life: it is our movement, our vehicle.

This serie is the third phase of "Chaises rouge" series and is called "chaises géométriques".

Actually, this serie is the last phase of "Chaises rouge".

For the first time in my work I used tools such as Sellotape, ruler and metre ruler. Using these, I was able to create precise geometric shapes.

In the second period of the 'Prières', Cathy leaves red behind in favour of "colours". Her painting becomes geometric.

In the third period of the 'Prières', Cathy manages to find a release in the rigidity and the rigour of her artistic process and the shapes become more allegorical.

Between 2001 and 2004, Cathy filled workbooks with collages, paintings and drawings. She worked in a state of tension and feverishness.

If in the workbooks the background decides the shape, it is the exact opposite for the larger works, where the form decides the background.

In 2006, with the painter Paul Mey, she realizes a series of paintings named "Natures partagées" (Shared natures) which combines both their universes.

In 2006/2007, she throws herself in a serie of 3 dimentional collages / paintings / sculptures.