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Beraet Chris

Chris Beraet
(1968- )
Nationality: fr France


525 artworks   Artistic domains : Drawing, Painting, Printmaking, Sculpture, Writings

Writing, because of the formatting that this requires, requires thought, much more than oral expression (which of course already involves it itself) imposes a burden, an outburst of thought, and, in any case, an inclination for it to enter into traditional and cultural moulds that alter it.
Free drawing does not require thought, is not altered by it. There is here an essential direct access to a true artistic creation.

Christophe Beraet. Born in Nice (France), lives and works in Vence.
I consider myself a "blind" artist (figuratively speaking). At the age of 30, I decide one day to paint what I cannot see with my eyes. I paint my first painting like a child's play, to bring out what until then had no form.
I start a creative experience without pretensions or prejudices, without knowledge or artistic training. I invent my practice step by step in self-taught and alone for six years.

From the beginning, I chose the free drawing and the body print as the formulation of my base of expression, the only one, in my opinion, capable of allowing the manifestation of the "non-mental" space. Every creation or recreation is a letting go of the present moment. All my activity comes from this creative experience, through a multidimensional paranoid subliminality!

At 41, I nevertheless acquired more technique at the Christian Geai workshop, rue des Ponchettes in Nice, where I discovered the mural fresco and the art of the Trompe l'œil.
In 2010, I practice printmaking with the artist collective ArtNice.
The following year, I perfected my knowledge by following the courses of the workshops of Engraving, Ceramics, Contemporary Drawing and History of Art at the Municipal School of Plastic Arts-Villa Thiole of Nice, during four years.
However, after all, I do not lose my first will: the free drawing, because painting and drawing is above all for me, an impulsive and intimate moment of the present.

Today, I present a figurale painting that is strong, lively, uncomplicated and poetic. I continue this quest for body to body, even beyond, with my body and the bodies of my intimate friends. Over time, my work has become an evolutionary quest towards another human being's reason.

Chris BERAET

Translated with www.DeepL.com/Translator
Writing, because of the formatting that this requires, requires thought, much more than oral expression (which of course already involves it itself) imposes a burden, an outburst of thought, and, in any case, an inclination for it to enter into traditional and cultural moulds that alter it.
Free drawing does not require thought, is not altered by it. There is here an essential direct access to a true artistic creation.

Christophe Beraet. Born in Nice (France), lives and works in Vence.
I consider myself a "blind" artist (figuratively speaking). At the age of 30, I decide one day to paint what I cannot see with my eyes. I paint my first painting like a child's play, to bring out what until then had no form.
I start a creative experience without pretensions or prejudices, without knowledge or artistic training. I invent my practice step by step in self-taught and alone for six years.

From the beginning, I chose the free drawing and the body print as the formulation of my base of expression, the only one, in my opinion, capable of allowing the manifestation of the "non-mental" space. Every creation or recreation is a letting go of the present moment. All my activity comes from this creative experience, through a multidimensional paranoid subliminality!

At 41, I nevertheless acquired more technique at the Christian Geai workshop, rue des Ponchettes in Nice, where I discovered the mural fresco and the art of the Trompe l'œil.
In 2010, I practice printmaking with the artist collective ArtNice.
The following year, I perfected my knowledge by following the courses of the workshops of Engraving, Ceramics, Contemporary Drawing and History of Art at the Municipal School of Plastic Arts-Villa Thiole of Nice, during four years.
However, after all, I do not lose my first will: the free drawing, because painting and drawing is above all for me, an impulsive and intimate moment of the present.

Today, I present a figurale painting that is strong, lively, uncomplicated and poetic. I continue this quest for body to body, even beyond, with my body and the bodies of my intimate friends. Over time, my work has become an evolutionary quest towards another human being's reason.

Chris BERAET

Translated with www.DeepL.com/Translator


Articles:

❚ EXPOSITIONS PERSONNELLES


2017
PARIS Le Loft - Galerie des Tribus Contemporaines
2016
NICE atelier Du-Fond-de-la-Cour chez Sylvia Leone-Castaldi, «dessins corps-lit-porte 2005-2006»
2013
MONACO Gildo Pastor Center, «peintures»
MONACO Espace d'Art du Comité de l'Aiap-Unesco-Monaco, «peintures»
2012
NICE Centre d'Art-La Conciergerie-Gounod, «peintures?»
2007
NICE Centre municipal CEDAC-Cimiez, «voyages parallèles»


❚ EXPOSITIONS COLLECTIVES (SÉLECTION)


2018
Biennale 109, Paris
Art Capital, Salon des artistes français, Grand Palais, Paris
2017

Salon de l'AEAF, galerie de Nesle, Paris

Art Capital, Salon des artistes français, Grand Palais, Paris

2016

ArtCité, Fontenay-sous-bois

Salon FigurationCritique, Paris

Surface De Contact, rencontre Franco-Chinoise, Paris

Espace D’Art «La Vache Noire», Arcueil

Vivart «Terra Incognita », Les Moulins Albigeois, Albi

2015

Art Capital, Salon des artistes français, Grand Palais, Paris

Salon de l’Aiap-Unesco-Monaco, Monaco

Produzentengalerie [ M ], Potsdam, Allemagne

Salon FigurationCritique, Paris

Il Segno, Palazzo Della Rachetta, Ferrara, Italie

Salon «Oasis», Osaka, Japon

Rencontre Monaco/Japon, Auditorium Rainier III, Monaco

2014

Salon de l’Aiap-Monaco, Monaco

Art en Capital, Salon des artistes français, Grand Palais, Paris

«Involution», Parrocchia San Magno, Legnano, Italie

Salon Aiap Milan, Galleria d’Arte V. Guidi, Milan, Italie
2013
Salon de l’Aiap-Monaco, Monaco

Art Brandenburg, Schiffbauergasse, Potsdam, Allemagne
Dialog/ue, Kunstraum Engländerbau, Vaduz, Liechtenstein
Il Segno, Palazzo Della Rachetta, Ferrara, Italie
Oasis, Osaka, Japon
Rencontre Monaco/Japon, Auditorium Rainier III, Monaco
2012
Salon de l’Aiap-Monaco, Monaco

Art La Gaude, La Gaude (Alpes-maritimes), France
Salon Franchement Art, Villefranche-sur-Mer
2007
Salon Espace Art, Nice-Acropolis, Nice


❚ COLLECTIONS PRIVÉES


MONTOLIEU la coopérative - collection Cérès Franco


❚ INSTALLATION ARBRES ET PORTES À LETTRES


2012
VILLEFRANCHE SUR MER Place de l'Octroi
NICE Parc du Castel des Deux Rois, Mont-Boron
NICE Parc des Arènes de Cimiez - Villa Matisse
2011
NICE Parc des Arènes de Cimiez
2010
THORENC Festival d'Arts Actuels (Alpes-maritimes)


❚ ACTIONS POÉTIQUES (PERFORMANCE)


2016
NICE atelier Du Fond de la cour chez Sylvia Leone-Castaldi
2014
LEGNANO - ITALIE Parrocchia San Magno
NICE La Conciergerie Gounod
2013
NICE La Conciergerie Gounod
2012
NICE Promenade des Anglais
2011
NICE CAL Fabron
NICE MUSEAAV place Garibaldi
NICE CAL Notre-Dame
2008
NICE plage de Nice
2007
NICE MUSEAAV, place Garibaldi
NICE Cedac-Cimiez


Exposition ArtCité 2016

Exposition ArtCité 2016


Fontenay sous bois



Catalogue “body scenes” Paintings 2009-2014

Catalogue “body scenes” Paintings 2009-2014


Parfum d'Art Edition; first Edition - 1 july 2015 - (available in english on amazon)


Catalogue « body scenes » Drawings 2004-2014

Catalogue « body scenes » Drawings 2004-2014


Parfum d'Art Edition; first edition - 1 juillet 2015 - (available in english on amazon)


❚ Chronique de François Birembaux - « cycle Rouille » Scènes de corps 2010-2013 - Juin 2015

❚ Chronique de François Birembaux - « cycle Rouille » Scènes de corps 2010-2013 - Juin 2015


I went to Christophe's to discover his painting. Entering this room, which also serves as his bedroom, one enters the bowels of a workshop of creations that reveal the whole "chiaroscuro" dimension of the "Rust" Period. In each of his paintings, the artist takes a sharp look at the subjects by expressing their powers and their fragilities. Faced with his works, how could one not think of what Claudel wrote: "certain blue of the sea (but also of a woman's eyes) is so blue that only blood is redder"? This remark makes it possible to capture with relevance all the paradoxes of the "Rust" period symbolized in particular by a series of portraits that oscillate between the misery and the grandeur of the human condition.

In this cave, where the paint essences evaporate, all the canvases rolled up and placed on the wall and the creations in progress are confined. It is in this pregnant atmosphere that I contemplate the "Rust" period.
To look at the works of this period is to feel all the verticality of Christophe Beraet...[...]

The artistic ascent lifts him towards the ideal, so dear to Baudelaireian poetry. His characters, naked, disarticulated, deconstructed or reconstructed, as well as the representations of the "gules" on the edge of the caricature, remind us of the humility of our inadequacy and of the idea that our life must ideally be led with the craziest of passions.
Inhabited by his art, torn apart, torn apart and torn in his feelings, Christophe Beraet delivers to us, in spite of a complex suffering, the demiurgical secret which heals the wounds of a lively personality. Thus, the postures represented and transfigured, are a language that is declined to infinity and translate the dazzling truths of magnificence and sublimation.

Christophe Beraet delivers to us, thanks to a talent filled with sensitive intelligence, the sweetness of faith. To use Camus' formula, we must live with "stubbornness", no matter "this permanent divorce between the spirit that desires and the world that disappoints". To give meaning is finally to accept "the confrontation between the human call and the unreasonable silence of the world". [...]

It must be noted that the drawn bodies, exposed on the walls, appear to us as beings who escape the gravity of their inner prison and especially the depths of pathological melancholy. The "Rust" period is the realization that we never rest because of this random disorder of the soul and the drying up of the heart. All these paintings suggest us to rise up against the physical disgust of ourselves and against our own psychological devalorization. Christophe Beraet's art allows us to fight against the perverse mechanisms that lock us into the straitjacket of the foul. […]

Whatever his moods, his creations are his rebirth and free him from inner wounds although they are well and truly visible in the "Rust" Period. Entering the workshop room teaches you more than a book. His art looks like an open heart. […]

How can the whole symbolic dimension and moral value of a singular character be defined when mass culture implies indifférenciation and relativism? How to become a character in a society where the levelling down is practiced and where the intellectual is crushed, the hero assimilated to an ephemeral star?
It is very difficult today to emerge as a singular character. However, while we are all the same but isolated, paradoxically, there is a concern for difference. In this ambivalent context, is there a place for the characters? How can each person drowned in our consumerist, mercantile and reactionary society - despite appearances - assert himself as a character with an "extra soul"?

When contemplating his works, one rushes into the intimacy of the artist, one invites oneself into his space, but one says to oneself that there is in them, a little of me, a little of us too. His paintings, sometimes terrifying, are softened by a colour, a line. It shows us our contradictions but more precisely our cracks, our wounds. [...]

Christophe therefore strives to say that giving direction and meaning to his existence cannot be done by ignoring death. The body language of his characters embodies "action" because we only feel our fullness in action.
As he paints and writes, he heals himself and seeks an improbable corner of paradise. He probes his interiority and it is his depths that he throws on the canvas. These bodies are not dead or dying or dying like those of Jericho in The Raft of the Medusa. These bodies are injured but they are psychological wounds. As for the portraits, they suggest that we are all very beautiful by being ourselves.

Translated with www.DeepL.com/Translator


Texte : François Birembaux - août 2014

Texte : François Birembaux - août 2014


CHRISTOPHE is an artist of discovery who dreams of a language capable of translating the dazzling truths of existence. His expression in all its forms and states is worthy of Rimbaud's letter to his friend Paul Demeny in which he praises poetic art. This so-called letter of the seer proclaims the need for the modern poet to bring new ideas and forms. In CHRISTOPHE, the creative quintessence consists in drawing from life, all the substantial marrow of human essence.

François Birembaux. Contemporary Knowledge Nice.