A New Take on Cubism: Part Two
By Marlissa Gardner
I sat down with Alain Beraud, a contemporary Cubism revivalist, as he breaks down the now under-explored medium that transformed artistic expression in the early 20th Century.
Beraud is reverent towards the early masters and their work, observing that Cubism embodies a curious duality that is both abstract in its communication but literal in its construction. Beraud explains “There is, in Cubism, an almost mathematical approach to the ‘destructuring’ of things and perspectives. Everything is questioned and so everything is allowed. It is this very creative approach that interests me beyond the pure creative process. No more taboo, no more norms, no more barriers apart from those of the imagination.”
I asked Alain, “Why Cubism?” What is it about this abstract and remarkable style that drew him in? He calls his new explorations in the form Neo-Cubism.
“For me the Neo-Cubist appellation is the continuation of Cubism. Nearly a century later it seems to me important to restore its nobleness to this current milieu of painting. Cubism marked the history of contemporary painting and yet has not found many successors. Today, I wish to bring this intellectual dimension to Neo-Cubism.”
In his early years, Beraud ventured into storytelling and artistic expression through the medium of motion pictures. “I had this immense chance to travel the world as a filmmaker for over 25 years. From my travels to the four corners of the world, I have reaped experiences and symbols. Today these symbols I find in my paintings.”
“Whether it is African or Arab or Latin influences, there are always traces of these journeys in my artistic work. All these encounters permeate my paintings. “Cubism allows total freedom of interpretation and it is what interests me, pushing back the barriers of creation and telling stories through my paintings.”
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