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Apprendre encore à aimer (2023) Painting by Eva Bergera

Ink on Canvas, 41.3x34.3 in
$5,475.22
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  • Pigments on Canvas
  • Dimensions Height 41.3in, Width 34.3in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Colorful
«Je crée des chaos ordonnés, magiques pour que l’homme qui les regarde soit ainsi renvoyé à « sa part de divinité », à sa vérité, à sa façon d’être Dieu. C’est la course à toujours plus ; Plus d’Iphones, plus de de followers, plus d’argent, plus de fesse, plus de sexe. La vie, c’est un temps. Une note de musique, une boucle. Un. 1. « Apprendre encore [...]
«Je crée des chaos ordonnés, magiques pour que l’homme qui les regarde soit ainsi renvoyé à « sa part de divinité », à sa vérité, à sa façon d’être Dieu.
C’est la course à toujours plus ; Plus d’Iphones, plus de de followers, plus d’argent, plus de fesse, plus de sexe. La vie, c’est un temps. Une note de musique, une boucle. Un. 1.
« Apprendre encore à aimer » est un mix entre une ancienne peinture « L’important était de couper le pain droit » dans laquelle viennent se noyer des nouveaux éléments : Un grand portrait entrelacé avec une gravure du XIXème siècle, des poumons malades et une rose. Des visages, ainsi que le texte initial « D’abord qu’il est père par rapport à sa fille » réapparaissent en transparence. Notre humanité va-t-elle retrouver son souffle de vie, se reconnecter au cœur ?»
Eva Bergera

Related themes

Peintureacrylique

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The works of Éva Bergera are cries, white cries, deaf cries. It is a theme as old as (in)humanity that works the artist: the moral, physical, sexual and social violence inflicted on those who do not think right. [...]

The works of Éva Bergera are cries, white cries, deaf cries.

It is a theme as old as (in)humanity that works the artist: the moral, physical, sexual and social violence inflicted on those who do not think right.

A harmony of raw words and pop colors, shocking images and pious aesthetics, the work exudes an impressive force.

Hell according to her is a contrast of colors both bright and soft, strewn with flowers, fruits and saints with ed hands. We see familiar faces, Loana, Claude François, the artist herself and others only known to the police – robot portraits of criminals. Eva Bergera's collages have the chilling beauty of Rogier Van Den Weyden's Last Judgment. Like the masterpiece of the Hôtel-Dieu de Beaune, they demand that we linger in front of them to appreciate all their power, the richness of the details. They are lacerated with sentences: "And what's more, this whore is nice", "Stop! Stop you tire me, order two pizzas and shut your mouth”, “Are you going to cry? “… These words, Eva Bergera heard them, collected, triturated, some were intended for her.

And in the middle of this mess remains laughter, humor as an indispensable revolt against the absurd, against a conception of life devoid of meaning, of center. There will always be death at the end, so go find something to do!

***

Born in 1988 in Roanne, Éva Bergera began painting in a painter's studio at the age of 8 and then multiplied competitions in supermarkets and surrounding villages. She develops an attachment to popular culture; Claude François, television, fairgrounds and a little later for the works of Annie Ernaux and Virginie Despentes.

Since the Salon de Montrouge, Éva Bergera's works have been noticed, bought by several ADIAF collectors, and her work has notably been shown at major Parisian fairs (the YIA, Slick Art Fair) or within prestigious institutions such as the IAC in Villeurbanne and the Lambert Collection Museum of Contemporary Art in Avignon.

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