À relever (2019) Digital Arts by Eva Bergera

Digital Arts, 30x22.7 in
$2,113
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Sold by Eva Bergera

One of a kind
Artwork signed by the artist
Certificate of Authenticity included
Ready to hang
This artwork is framed
This artwork appears in 2 collections
  • Original Artwork (One Of A Kind) Digital Arts, Manipulated Photography on Aluminium
  • Dimensions 30.8x23.5 in
    Dimensions of the work alone, without framing: Height 30in, Width 22.7in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is framed (Floating Frame)
  • Categories Digital Arts under $5,000 Figurative
Cette impression est un mix de nombreux et différents supports : Une ancienne carte de Paris scannée, une ancienne peinture de l’artiste, un portrait de femme peint par Botticelli (Eva Bergera a une grande admiration pour les peintres de la Renaissance Italienne), des fragments d’anciens symboles qu’elle avait réalisés ainsi qu’un texte écrit pour[...]
Cette impression est un mix de nombreux et différents supports : Une ancienne carte de Paris scannée, une ancienne peinture de l’artiste, un portrait de femme peint par Botticelli (Eva Bergera a une grande admiration pour les peintres de la Renaissance Italienne), des fragments d’anciens symboles qu’elle avait réalisés ainsi qu’un texte écrit pour une installation conçue pour le duoshow « Bondieuseries » dans la galerie parisienne Graphem en 2018.
Les différents portraits se mélangent entre eux et avec la carte qui crée des veines, une peau rougie (par la honte ?). Ses dernières œuvres sont des mises en abîmes infinies des précédentes et de mes nombreuses banques d’images. Reste un visage avec un visage hagard, comme une âme en errance permanente.

Related themes

PortraitAmourJoieFaithSpirituialité

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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[...]

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 joined 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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