It is a theme as old as (in)humanity that the artist is working on: the moral, physical, sexual and social violence inflicted on those who do not think straight. A harmony of crude words and pop colours, of shocking images and pious aesthetics, the work exudes an impressive force. Hell, according to her, is a contrast of bright and soft colours, with flowers, fruits and saints with clasped hands. There are familiar faces, Loana, Claude François, the artist herself and others only known to the police - robot portraits of criminals.

Éva Bergera's collages have the chilling beauty of Rogier Van Den Weyden's Last Judgment. Like the masterpiece of the Hôtel-Dieu in Beaune, they demand that one linger in front of them to appreciate all their power and richness of detail.
They are laced with phrases: "And what's more, this whore is nice", "Stop! Stop it, you're tiring me out, order two pizzas and shut your mouth", "Are you going to cry?" ... Éva Bergera has heard, collected, triturated these words, some of which were intended for her. 

The Middle East, unrecognized countries, radioactive or forbidden zones considered as "involuntary natural parks" are all territories that Louis-Cyprien Rials has travelled through or inhabited. Of these zones marked by past violence or agitated by major conflicts, the artist delivers a silent, sometimes mystical image through video and photography.

These moving pictures composed of still shots, often long and devoid of human presence, tell of the impossibility of capturing these abandoned, transformed spaces, imbued with beliefs and strewn with stigma.

In addition to photography and video, my practice incorporates sculpted objects and collected natural materials in order to re-establish, through performative installations, a relationship between man and nature.
The works reinstall and rewrite rituals, on the edge of the sacred, which give stones and plants analeptic power.

The haptic device in Imprint-sculptures is of paramount importance and one of the fundamental characteristics of these object works.
Touch, manipulation and experience shift our perception of the works in unusual ways.
The stone is seen as a catalyst for experience, worked in negative to correspond to parts of the body, while remaining abstract enough to be intuitively recognised.