Born in 1985, Amélie Bertrand’s paintings explore the idea of distortion in all its forms. Photoshop has enabled her to open up a whole field of possibilities and at the same time completely distort them. “That’s why I never use 3D software. Everything would be just too accurate,” she says. Her coloured surfaces are organization like the dashboard of a Mac: certain sections of the paintings are blurred through veils of semi-opacity, or slide from left to right or in the opposite direction, mini-applications modify the different layers through various functions; from a simple drag and drop, she invents unprecedented colour gradients, lights coming from behind the paintings. Closer to the sexy pallor of LEDs than picture-postcard sunsets, Bertrand paints worlds that are both hermetic yet without limit, dense yet deserted, suffocating, oppressive and at the same time infinitely and eternally restful.

Bertrand has had solo exhibitions at Semiose Galerie in Paris. Her work has been included in group exhibitions at institutions such as Musée d’Art Contemporain in Marseille, Musée départemental d’art contemporain de Rochechouart, and Institut d’art contemporain in Villeurbanne/Rhône-Alpes, among others.

Courtesy of Semiose Galerie