A former student at the Ecole des Beaux-Arts (Lyons), she then graduated from the C.L.C.F (Paris). She was both a member of Réalité Seconde - a group set up by André Sablé - ,Salon Comparaisons (Grand Palais, Paris).

Caterina Annovazzi turned to abstract painting while wash-painting figures: she decided to get rid of the figures, keeping only the background. From then on, she devoted her art to landscape painting : from luminous and powerful heavily-brushed vistas of coastal lines to lyrical representations of the cosmos. Her paintings then drew their inspiration from various forms of spirituality : the psychedelic sub-culture, doing retreats in monasteries, living as a hermit, practising meditation and yoga, forays into Eastern mysticim and humanistic psychology. Her change of pictorial subject and her transition from the linearity of the sea horizon to the painting of the cosmos can be perceived as the reflection of a strong inner life. Her paintings take shape by following a long, evolutionary pattern in a ritual quest for inspiration - wandering in the countryside, gazing at fires, conceptualizing pictures while bathing, practising relaxation therapy. The artist gets immersed in her own work by using the natural elements as a way of ''greeting'' the painting. As for the ''cosmic paintings'', the first phase is devoted to the quest for pictures related to space: nebulas and comets as well as solar explosions.
In the isolation of the workshop, incense as well as fragrances and serial music of the cyclic or tantric kind are used to create a suitable environment. The starting point of a painting is often the centre of the canvas, the figures being wash-painted. A first stage of figurative painting is followed by its transformation into abstraction. Patches are then extended, developed and densified until they attain a certain level of depth within the overall painting. At that point, some colours harmonize with each other and are superimposed on one another, others just disappear, forming areas waiting to be ''homogenized''. 
The third step is a return to the earlier figurative stage - the subject as well as the forms are now being outlined. Some parts of the painting disappear from view. The final stage is performed from a vantage point above the painting as the artist is contemplating her work. Caterina Annovazzi's paintings are not only powerful, they also combine physical strength with a high level of technical skill. Even more, her works can be described as metaphysical. With her representations of the cosmos, the artist has achieved works of art enhanced by technical devices perfectly matching her artistry - chemical inventions, blowers, fire, light, heat, colour, matter, water - like so many elements and tools which, being so much in phase with her purpose, have become near-conceptual media in Caterina's hands. Re-using all the elements to be found in matter and needed for the creation of a ''micro-cosmos'', her art reveals itself to be like a matrix of energy, a truly metaphysical clinch combining cutting-edge technical skills plus the universality of the subject and the inner ''genius'' of the body with the science of the great Beyond. The artist has now made a return to painting the human figure, traditional or digital. A personal mythology is born, made up of God-like spectres emerging from a timeless world and adorned with ancient attributes. 

Also author, Caterina Annovazzi published in 2015 an illustrated first novel "Fantaisie haschischine".

Biography translated by Eric Perbet