Tant pis va déjeuner va (2015) Painting by Eva Bergera

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Sold by Eva Bergera

  • Original Artwork (One Of A Kind) Painting, Acrylic / Pencil on Wood
  • Dimensions Height 13.8in, Width 7.9in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Figurative Colorful
Un été, en passant quelques jours de vacances à Roanne chez sa mère, Eva Bergera a retrouvé son ancien carnet de catéchisme. Il est composé de textes tapés à la machine, en capitales sur des feuilles colorées rose, jaune ou bleu. Ils ont été rédigés par son aumônier Georges Durand et certains mots ou groupes de mots sont soulignés voir doublement soulignés.[...]
Un été, en passant quelques jours de vacances à Roanne chez sa mère, Eva Bergera a retrouvé son ancien carnet de catéchisme. Il est composé de textes tapés à la machine, en capitales sur des feuilles colorées rose, jaune ou bleu. Ils ont été rédigés par son aumônier Georges Durand et certains mots ou groupes de mots sont soulignés voir doublement soulignés. Cela frappe l’artiste. Les textes de Georges Durand sont importants puisqu’en capitales. Mais en plus, certains mots sont librement sursoulignés. Ils doivent être excessivement importants. De manière arbitraire, Eva Bergera décide jour après jour de choisir certains mots soulignés et/ou sursoulignés afin de composer des poèmes à partir de ces mots. Elle a appelé cet ensemble Les Corps Glorieux. Ces poèmes sont devenus une base pour une série de peintures format Jésus sur papier.

Related themes

ColoréColorfulAmourCoupleLove

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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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