Reviews

  • Duccio Trombadori

    Life and fantacy

    Bernadette Kirstein chases after an intuitive and fanciful idea and portrays it as it were not a dream and not an illusion. The mythical sense in her painting presents itself as a fable for images, a fable that wants to reveal the deep intimacy of the living heavens with invisible and supernatural forces. The figures are arranged on an area in a time and space unit so that the one-dimensional image is perceived as an ideogram of fantasy, but one whose code has been lost forever. The legacy of a visual emotion that is sufficient in itself, with no Ifs, and no buts, expresses itself as a form of meditation in Bernadette's simple style: her 'primitive' taste manifests itself in the spontaneity of the representation of the children, and in the power of the intuitive thoughts, which are, so to speak, entrusted with a precursory logic of the concrete pictures. This is why the cosmic visions of her universe, her galaxies and her 'black holes', described with the patience of a weaver of Persian carpets, are included: the stars against the black background, the points of light and the furling red blazes of fire portray worlds, allude to infinite depths, in which one is given the impression of booking into the bottom of an aquarium 'The infinite universe', is the name of one of her pictures with figures and words, but one in which the border between picture and word is delineated: it is the sigh of the person bowed by lie, facing the mystery of his life, similar to the mystery of the child who faces the infiniteness of the heavens and asks Why?' Bernadette does not stylistically toy with the 'Fetish of Ocean' and Guinea' when she recites the verse of Gauguin and Apollinaire: the form of her gaze is much more the result of a spontaneous visual desolateness hoping to connect with the original expression and seeking the soul, not an aesthetic formula from this direct and simple painting, which is nevertheless full of thoughts, result virtually monochromic wall calligraphies such as 'The Grotto of Lascaux' - the lion, the penguins, the happy elephant, the owl - but also the batiks of amorous fish, or the figure 'en saltymbanque' of the woman in paradise, against the background of a surreal Cocteau, between the neutral white background and the contrasting colour of the entrance to the surroundings. The tone of that which is experienced, the page in the diary and the existential motif are not lacking in the composition of this expressiveness, which ascribes to the language of painting the ambitious task of overcoming all abstract reasons in the name of the 'concrete picture' And so Bernadette interrupts the vision with the feminine, surprised and lost eyes, in order to define the 'color of innocence’ She reproduces these big eyes in the center of a large, red, broken heart that was depicted in infinite space. Tears of happiness and sadness stream from these eyes, in light of the recurring question (Why?') and in light of the cognition of the cosmic and existential pain ('Hurts'). In this way, the symptom of an expressive wish is adopted that fully hooks up with emotions, represented by figures and symbols of the living and natural heavens, as if the painted picture could bar the doors of the mystery of the invisible and the supernatural the end lost in her figurative thoughts in the form of emotions and revelations. Bernadette Kirstein creates her paintings with the tenor of passion and melancholy, like an unveiled mist on the apparent she suggests the joy of looking into the depths, of hearing the music of form and color - and with the same suggestion of a dream dreamt with eyes open.

  • Barbara Angilioni

    ll calore del calore

    Six years have passed since my first meeting with Bernadette Kirstein, in 'Arte Bernaki", and right here today, in front of her latest works, I am persuaded and convinced by the same magnificent freedom and creative approach that have lost no energy or fascination whatsoever. Yet something has even evolved from the enchanting poetry, maintaining that naive innocence that sets aside the originality of her 'idiomatic works, her style has become even more refined. The colours, despite still being as vibrant as ever, have lost some of their more adiculous and contrasting tones, in favour of softer and more delicate ones. Even the chromatic spaces, typical in their drawing up 'a plat’, have changed format and in reducing the actual size of the works they have taken on a more vibrant and rich surface which uncovers interesting airy and light qualities of forms in the composition, through a surreal chromatic construction, composed of dots and subtle of shapes which characterize and define the extreme two-dimensionality of her work. There is a complete absence of any volume whatsoever, but one that is neither suffocating nor limiting, especially notable in the evolution of her beautiful decorative linearism; which clearly outlines and highlights the fantastic warmth and dream of Bernaki, a great creator of form and an artist of hidden beauty.