Marina
Bernardi

Marina Bernardi - Biography Born in the Parisian suburbs in 1994, Marina Bernardi attended the courses of the French ceramic artist Fabienne Auzolle for more than 10 years. With her she developed her sense of confrontation with various materials while keeping in mind the traditional techniques. She continued her practice while studying Humanities, History, Art History and Archeology in major Parisian schools, including the Louvre's (Ecole du Louvre).Keeping a constant contact with art and learning theories of creation or restoration helped her develop a critical look towards Classical Art, wich is central in her work. It's precisely that art that she admires, mistreats and questions the most. Her work seeks to show what the classical pieces traditionally hides: the preparatory work, the background, the fingerprints of the artist, residues, sediments, and mostly the insecurities and changes of direction that come with the creation of any work.Marina Bernardi wants to break the myth of the all-powerful artist and the vision of the work of art like an ever finished object. She conceives her work like an act of sincerity, attempting to paint or carve the doubt and frustration she experiences facing the resistance of materials and her own limits. Her works show, but also hide pieces of matter that only the passing of time could reveal.
During the process of creation, the artist takes into consideration the inevitable degradation that would lead curators or restorers to make choices, possibly changing the original appearance of the pieces. The artist accepts that her works will evolve and involve several other actors and points of view : the objects are never completely finished, technical "imperfections" are put to good use and become opportunities for change over time.
The subjects represented are like the creative process, they open and break down, ephemeral like shadows, but especially like Humans. They are immersed in an unclear dimension where life envelops them, pierces them, or leaves them, showing the paradox of the quest for permanence in art as in life. They show us their anguish, that of the artist, that of Man facing the idea of Death.