Critical introduction :
Both introspective and violent, mysterious and determined, Claudie Saxe’s painting is made of tensions. The latter articulate the complex relationship that simultaneously link and oppose feminine and masculine, body and spirit, being and matter.
Constant throughout her work, this struggle and the boundaries it traces fluctuates nevertheless, thereby challenging any formal limitation.
Distinctly non-figurative, Claudie Saxe’s painting is also related by its use of matter and color with abstract expressionist work like that of John Levee’s more recent paintings ; It can equally be related to action painting, particularly by the way the canvas becomes an action space where the artist’s movment and the sincerity of her intention structure pictorial action.
About 1,800 sheets in a variety of techniques (pencil, gouache, oil pastels, ink) carry the narrative line and also establish the atmosphere of each scene (there's no attempt to create a similarity between the faces in different sequences, line and colour have been given the freedom within each sheet to bring out ethnic characteristics or to express underlying stage emotions.
The coexistence of these separate languages came quite naturally, almost friendly, right from the first rehearsals. Obviously, the images don't move (through there are cuts, pans, tracking shots and zooms) and should be viewed perhaps more like pictures at an exhibition.
The narrative voice comments on the images and occasionally adds a dash of literary quality, while the dialogues have a contrasting directness and realism.
But it's the music that really carries everything else and absorbs all the atmospheres that are created.