‍She paints bodies. Bodies that have a love story to tell. And this story, Claude St-Jacques first writes directly onto the canvas, engraving her words into the first layer of acrylic, still wet. Words that announce the body that will emerge. The colour will later come to cover, conceal, and erase this writing that is perhaps too personal. Only a few words remain here and there.

‍The artist offers the image that has emerged, but she keeps the words to herself. Because colour thus comes to hide writing. Claude St-Jacques has titled her exhibition Après les mots (After the Words), which she will present in April at Galerie Estampe Plus in Quebec City. The body is alone on the canvas (with one or two exceptions). A body without sex, without face, without features. An undefined, impersonal body — “a body that is always thin and elongated. The image I have of the ideal body.”

‍From one canvas to the next, the same movement recurs. The body is open, arms raised toward the sky as if trying to break free, to escape the laws of gravity. A body that refuses to be held back, restrained. Somewhat like this determined and passionate woman, rebellious against all constraint, jealous of her freedom, and who has organized her entire life in order to remain free.

‍In her paintings, Claude St-Jacques makes extensive use of metallic colour — gold, bronze. Metal that she seeks to render warm, and which she values for its luminosity and brilliance. To these metallic reflections she adds the density of a rich, deep blue, almost black, which she has created herself. Occasionally, a hint of red appears. The artist limits herself to these colours alone. Acrylic is applied in successive layers, wiped and dabbed onto the canvas, giving it an aged appearance, a patina effect.

‍As will be seen in the video clip of the same title accompanying her exhibition, Claude St-Jacques attacks the canvas in a physical, body-to-body struggle. The movement is broad, sweeping, instinctive. Because her gesture requires space, she often works in large formats. Crouched in front of the canvas or leaning over it, she paints with her hands — hands covered, saturated with paint. She uses tools only to engrave the acrylic, to give it texture.