Some artists work in an orderly sequence that makes their art fall into neat groups and series. Though Nadege is quite orderly and neat and almost meticulous in approach and technique, conceptually she’s not one of the aforementioned. Different themes and approaches rise, only to disappear or double back. An artwork will emerge that seems to comfortably fit in the middle of one, two or even three other series while in other instances, a new art piece will just start to veer off for no good reason, without forethought, into an entirely different terrain. What the hatchings do share in common is an obsessive use of small gestural lines that are sometimes non-objective (e.g. «Lifewater», «Charge»), sometimes abstracted figure-spirits (e.g. «Split Hare», «Alpha Lupi») and other times clearly used to shape recognizable portraits (e.g. «Ember»). The color is usually bold and across the entire spectrum, though some are nearly monochromatic in keeping with her Red Series, such as the «Woman not Dreaming « which could easily be grouped with her portraits as well. The same inclusion within her continuing series of portraits could be said for the beautiful and entrancing face in «Ember» as well, though the idiosyncratic hive of small gestures makes its membership with the other Hatchings more central than the actual imagery.The fact that the Hatchings appear to be almost arbitrary in their smooth unfolding flow of interlocking forms is almost ironic considering how well it disguises her normally laborious process of forming and re-forming via re-arrangement,  constant erasing, layering and re-layering. As much as one may be seduced by the casual distanced look, the art takes on an entirely new aura of fascination when the viewer hovers up close only inches from the surface. At this vantage the panoramic interplay gives way to intricacies revealing a scrim of complex lines, multiple color modulations, highlights and shadows that appear almost like nature itself. Even though this sense of the biological is almost palpable at times, rather than a specific subject, object or even skin, what appears is more akin to the ebb and flow of a biological ecosystem like a forest floor or tide pool. Things are happening in there that are still birthing, still in the process of becoming, while others are fading from existence. There is a sense of continuing evolution, rhythmic, disruptive, squirming, meditative, harmonious and in battle all at the same time. Some artist’s works reflect a singular frozen moment in time. This art will have none of that.This is more like time and direction unfrozen, emphatically alive, subject to change, not at a moment’s notice, but in the moment you notice.