The Canadian painter's recent work is identified in the fundamental with a passionate treatment of movement. Not any kind of movement, but specifically of the human being, and more concretely of the sensual and delicate movement of the feminine body. 

At the limit of the figuration and just before the abstract explosion this "new figuration", if you want to call it such, is so original and creative that it challenges the label of conventional critic's classification.

The stylish treatment of the human figure upon which the artist extracts only the essential and sends the observer (the purest emotions of the figures dancing on an abstract background) give not only an image of lyricism and poetry, but strongly suggest a provocative sensuality. Some images give the impression of floating in an original Jungian world, where a symbolism not always well assimilated by the observer, connects directly to the collective and universal subconscious of myths, dreams and eternal fantasies.

The painter understands the necessity to keep a delicate balance between the creativity and marketing of art. She travels between her native Canada, United States, and Europe as she likes to personally approve everything related to her art.

Colette believes that "technique is never neutral". Indeed, a fundamental part of the "effect" of her work is due to her techniques eminently innovative and eclectic. From the use of pouring she creates a mixture of diverse and different superposition's from materials - considered incompatible - like oil, acrylic, gold leaf and ink.

From her exhibition in Soho N.Y. until her recent successes in different galleries of Florida, Massachusetts, Pennsylvania and California, Colette does not have much time to rest on her laurels. Her customers faithfully follow her career commissioning dozens of paintings every year in addition to the demands for new paintings by the galleries representing and selling her work.