The following is a testimony from the painter, Jean-Paul Jérôme, after a visit to Claude's studio:

A visit to the Claude Maurer Studio
May 1990

Inside the workshop on Lachine Canal, one contemplates a series of paintings in the rich plasticity of the medium containing a strong measure of force – the etchings are sombre and truly hallucinating.

Each canvas attracts the eye by the vastness of its dimensions as it creates an impression of something new and profound. It clearly reflects the moments in which the painter engages in the action of mixing his colours.

The action unfolds most often in the squares that are organized on canvas as it is subjected to the furious organic shock waves of an austere representation, like a full wall across a simple surface.

An overall impression emerges from the fawn-gold colours that are layered on against the violent sun coloured bronzes that achieve incredible resolution through the precise movement of the paint brush, as though it were applied with a cloth no thicker than living skin. The colour that overlays these hues casts seductive and abstract rays of light, the informal and anti-geometry of which creates movement through a few impetuous layers of matter enclosing the oil, like certain ligneous metals or toxic limestone.

The workshop is a crucial space with a wall of generously disposed windows that allow the air and light to penetrate in profusion, which are the secret sources of inspiration – allowing alternation between canvas and meditation… studies on paper.

At the very center of the large wall are exhibited the paintings of Claude’s production; they contrast with the mixtures of stains and spots that clutter the ground, a testimony to his arduous, yet exuberant work.

These works bear testimony to the accumulated fury of a long period of gestation in the mind progressing along a pathway to a world of creation, which is sudden and immediate – a wild and unfettered flight.

The table is covered with a disarray of material, revealing the energy devoted to the fantastic preparation for the vast surfaces on which will be inscribed the various elements of a spiritual dimension – inescapable, yet using only lines and homemade tools - augmented by the precision of the brush which projects the remainder onto the material.

The body that is saturated in this work inexorably extends the consistency of the canvas towards monumental art, characterized by optical cryptography, crystallized through its own invention.

In the silence of the workshop … such lively flashes captivate before rebounding with the unremitting echo of turbulent poetry in the fierce language of art. For if the the hand assimilates and then innovates through this pictorial technique, it delves more deeply as it traces out the dark black violet in order to inoculate the road yet to be explored … a measure of the belief of the painter who continues on until he strikes a blotch of wine red. His faith is expressed in the very movement that advances in innate yet strange steps. Ferocious audacity emerges unto the ineffable as it takes its place and gnaws away at matter… totally new and totally vibrant before the eye of something possessed.

In similar fashion, Northern atoms may be expressed by signs that are inscribed in the movement of microscopic traits - equally hardened to torture as desirous of pleasure - which help set everything outside in a state of awe.

The subtle nuance seems to welcome us and from painting to painting we see emerge the art of prehistory, which is synonymous with relentless time such as the cosmic rotation of the sun casting luminous starbursts across the dark. The heavenly body turns towards the men of today and plunges into the world of imagination in a flood of shimmering signs that rush beyond the fleeting night like blue tinged stars with reddish filaments, like a lustrous and golden gem of dreams. The outstretched hand rises to an ancient hybrid bronze and through contact it finally models the layers of pigment, fascinated by the movement of the golden canvas, whose range creates both torture and joy … There is an intersection of movement that unites in a tempest of the heart.

Jean-Paul Jérôme, R.C. A.
June 20, 1990