Biography (PDF) Artworks Exhibitions


Born in 1988 in Paris. Lives and works in Paris.

Nina Bernagozzi graduated from the École Nationale Supérieure des Beaux-Arts de Paris in 2013. She studied for a few months at the Hochschule für Bildende Künste in Dresden as part of an Erasmus program.

During the last two years of her studies, she wrote a short essay under the direction of Alain Bonfand: «Blindness and light effects for emotional purposes in the cinema of Ingmar Bergman». The reflections she develops there will gradually permeate her pictorial work, which is part of the quest for a dialectic between darkness and light.

In 2015, she joined a new group of artists with which she founded an artist run space named «Pauline perplexe», a singular place where each of their practices interpenetrate, where the experimental prevails – the space includes a laboratory and an open kitchen. It is also where she presents her first solo exhibition, Nous étions faits du même limon, in 2016.

In parallel she collaborates for a while with the floral artist Nue Paris in 2018. She then trained in permaculture, with the aim of creating a dye garden and cultivating her future pigments there.

From these experiments, a hybrid practice parallel to that of her painting emerges in the form of culinary reflections, which are the subject of different projects grouped under the name La marchande de quatre saisons. They were presented at the Bagnoler exhibition space in 2020, and at the Michel Journiac gallery in 2021.

She has also collaborated several times with the artist Hélène Bertin, at the Florence Loewy gallery (2016), and in Provence (France), in Cucuron, Lauris and Sannes between 2016 and 2018, for workshops or on the occasion of the exhibition Ensauvagement (2017).

In August 2017, she presents and organizes independently what represents her most intimate project: her solo exhibition Ostrea-Ostreon, which takes place on a Breton island, Izenah. She invests the gallery of the island and creates a course on this privileged territory from a thought articulated around the oyster, especially the symbolic charge that it contains, between ostracism and eroticism. The oyster is a figure that has haunted her work for several years.



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