The labour-intensive drawing methods employed by Cat Roissetter are part of a unique visual language, where distortion of form is a symptom of the gradual degeneration of materials and an intensity of observation that verges on the neurotic. Roissetter’s work draws on diverse source material, including personal photographs and found illustrations, which are subjected to the various destructive processes including photocopying, acid-baths, sun-bleaching, dust-gathering, damp and rot. This ambiguously nostalgic material re-emerges in the finished works, ‘mechanically stripped from some unknown elsewhere’, as the artist Jake Chapman has put it, ‘without gaining any better purchase on their ontological ground’. In the finished works, this material toxicity cohabits with a startling delicacy to suggest both nursery-rhyme and nightmare.
Cat Roissetter lives and works in Sheffiled. Solo exhibitions include 'English FIlth', Cob Gallery, London, UK (forthcoming), JW Dunne & Other Stories, Brocket Gallery, London, UK, (2018) and A Thousand Plateaus, Brocket Gallery, London, UK (2026). Recent group exhibitions include The Flesh of Thought, Blyth Gallery, London UK (2019), Daw Art Fair, Saatchi Gallery, London UK (2019), Through The Looking Glass, Cob Gallery, London, UK (2018), Members Show, Bloc Projects, Sheffield, UK (2018), Drawing Now, Carreau du Temple, Paris, France (2018) and Cartography, House of Fairytales, Cloud Cuckoo Land, London, UK (2018).
In 2011 she was awarded the Augustus Martyn Print Prize and the Sketch Prize. She was also longlisted for the V&A Illustration Awards in 2007 and shortlisted for the Jerwood Drawing prize in 2013.