Christine Sefolosha was born in 1955 in Montreux, Switzerland, from a great family of German origins with a fanciful and romantic grandmother. As a child she takes refuge in drawing on her sleepless nights.

She marries a South-African at the age of twenty, and goes to live in Johannesburg’s « felt ». She keeps working on her drawing and painting, then decides to break away from this easy and hypocritical life and to live, in 1982, in the poor Kensington district of Johannesburg with a black musician.
On account of apartheid, she returns to Switzerland in 1983 where she has decided to settle. She attends academic courses at the Art Center College of the Tour de Peilz, in 1986, for a few months. Nevertheless her style has definitely been marked out by her eight years (1975-1983) in Africa.
« It is an experience which grips you for ever. It gave me this urge to impart what is in respite, the ephemeral and contingent in life. »
And so her first works bear the imprint of her African stay. She calls them « clays ». Threatening beings —true primitive animals— emerge from the natural pigments and the soil she grinds, kneads, and spreads out with her hands on large canvasses or cardboards.
Later on she will turn to a tar and oil mixture, and the bestiary will only cover long kraft sheets of paper. Animals which recall prehistorical cave paintings seem cut out against those warm and mat grounds.

The dream universe in which Christine Sefolosha seeks her pictures has evolved those last two years. Her return to Switzerland, and maybe germanic sources, have driven her to a more diaphanous transparency. Her media and techniques have become as fragile as the suggested dreams.
Ink or watercolour flows over a paper as thin as onion-skin or Japanese vellum. She gives free rein to runs, overlaps, overlays, and the diffusion of pigments. One steps into a spellbinding, mysterious night realm quite remote from the African colours and sweltering heat.
Without any preconception, boldly, Christine Sefolosha lets herself be carried by the visions which insert themselves « out of the blue ». « We can (only) listen to the strange stories she tells us far beyond words. » (Gérard Sendrey), and let ourselves be lulled away by her subtle pervasive moods close to Claude Debussy’s melodies.