After spending more than ten years working on cardboard, Olivier Catté opened a new chapter in his artistic career, on paper. Less constrained by the material, on which he mainly used the cutter, Olivier Catté approaches the landscape freely, as in a dream.

While the buildings occupied the whole space in his previous work, they now fade away. They are relegated to the edges or represented at an infinitely smaller scale than the landscapes that surround them. Moreover, they are, literally, the shadow of themselves, since the artist works them in negative by peeling off the paper and delimits them only by the shadow that they form on their floating ground.

Escaping from Western linear perspective, which places human beings at the center of everything, Catté borrows from the East the idea of a moving, organic landscape. Man and his cities are only an element of the whole, reduced to the scale they really occupy on this planet. This Day After (after the madness of human beings, their constant quest for efficiency) is incarnated in paintings to live in, rather than objects to look at.
More than a dream, it is a premonition.