Catherine de Kerhor is an artist; in this sense, she masters her art, making it alive and present. A sculptor for over twenty years, her singularity is to capture movement in postures that capture the eye with their naturalness and realism. From the start, aesthetics are present in her female nudes; a natural expression of volumes, respecting the proportions of the human body. Little by little, her modeling evolves, to give strength to the sculptures thanks to the less smooth texture of her material and the accuracy of the body balance including in the carnal presence of the model to portray the emotion she expresses in all naturalness. This feeling of profound harmony is even truer in all the animal sculptures that followed, like this panther perfectly marrying in its serenity the shape of the tree branch on which it rests.

Catherine continues to evolve and we can only be delighted to see her embrace larger formats, thereby taking her works out of pared-down interiors to place them outdoors in sensitive contact with the raw and intense beauty of nature. And therein lies the paradox of Catherine's art, where her sculptures, in ever-increasing formats, amplify the movement and natural strength of the model while retaining her great interiority; like this bronze sculpture of an obvious magnetism of Isis sitting on her rotten wooden bench that we could easily imagine under the shade of a protective tree. Thus, the two worlds come together: that of art galleries and that of nature; that of the animal world in its natural environment and that of emotions in the sensitive gaze of beings.