The starting point in the work of Bruno Berthier (Mexico City, 1987) is color, what choice of color to begin painting with. There arises the temperament, almost by chance, of his compositions.

Before painting a woman lying on an armchair or a group of people dancing, there is red, blue, gray. He traces the contours and begins his narrative games; the lyrical quality of his work. There are no prior intellectual ideas in the delimitation of his characters, but rather a way of intuition converted into corporal execution. He works with a spatula and brush and does not use external references, that is, he does not work with models, nor does he transfigure what is placed in front of him. The aesthetic quality of his inventions depends on the balance of colors. But we must not deceive ourselves, Berthier is not an artist of chromatic qualities alone, but the flow of his own imagination creates intertwined views, strange background spaces, abandoned tables, windows that look out to all places. Intuition converted into narrative methods.

Berthier comes from a family of painters of Italian origin. Painting was, in a certain way, an involuntary destiny. Theoretical discourses, that plague of the so-called “contemporary art”, does not interest him. And of the Mexicans, he says he admires David Alfaro Siqueiros and Ricardo Martínez. From his teachers Bonnard, Vuillard, Sérusiery, and in general from the Nabis group, he learned to paint with the pure vision of things, from the nuances contained in light and forms.