Cat Loray is a practioner of painting and sculpture in their purest state. Her stripped-down subject matter captures the essential density of form in a space where the voids and plenums are in a fundamental state of osmosis. The forms - products of the organic world, yet of undetermined animal or vegetal nature - are arranged on large white grounds. Freely stylized yet fixed, Les Pierres immobiles resonate by virtue of the painter’s touch, of her emotional trance, as they are organized and achieve gravity on the immaterial surface of the canvas.

Cat Loray’s stylistic exercise closely approximates what Jean Dubuffet spoke of so eloquently in his Bâtons Rompus: “that which painting delivers to us is an image that takes on the mantle of thought. Thought is in a uniform and constant state of movement which turns upon each object that comes under its purview. And it is precisely this movement that a work must translate. It is there presentation of thought and not merely the representation of objects that we wait for in painting - not just the study of a tree or the data concerning the tree but the evidence which delivers to us the process of thought in the presence of that tree. The image of one’s own thought will always remain the permanent subject of all figuration”.

For many years, Loray’s work has transgressed the Third Dimension. This clearly figures in sculptures evolving into a new space wherein emptiness and plenum achieve new and fragile equilibrium. This practice, this gesture that constructs and then deconstructs, this process of perpetual formation and transformation envelopes all Loray’s work with an intense resonance and has led her ever closer to pure Abstraction.