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.
Forthcoming solo exhibitions include Rural Scenes, Cob Gallery, London, UK (2022); Solo exhibitions include Tender Meat (OVR), Nathalie Karg, New York, USA (2021), English Filth, Cob Gallery, London, UK (2020); JW Dunne & Other Stories, Brocket Gallery, London, UK (2018); A Thousand Plateaus, Brocket Gallery, London, UK (2016). Group exhibitions include Artissima Unplugged, curated by Ilaria Bonacossa, Civic Gallery of Modern and Contemporary Art Italy (GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italy (2020); Artissima, Torino, Italy (2020); The Flesh of Thought, Blyth Gallery, London UK (2019); Draw 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); Cartography, House of Fairytales, Cloud Cuckoo Land, London, UK (2018).
Roissetter was shortlisted for the Jerwood Drawing prize in 2013 awarded the Augustus Martyn Print Prize and the Sketch Prize, both in 2011.