Waves of (hyper)realism · interview with Eleonore Bernair

April 9, 2022

All images: © Eleonore Bernair. Please do not reproduce without permission of the artist.

Humans have always felt a deep fascination towards the sea. We are land animals living on a planet mostly covered by water, and the seas and oceans awaken in us an irresistible curiosity towards something that is strange and unknown, but which at the same time is strangely familiar to us, like an atavistic need to return to the sea, from which after all we come from. As J.D. McClatchy wrote in his foreword to “Poems of the Sea” (2001), “at least since Darwin’s day, we have known that all of us originally emerged from the sea. That fact may in part account for our abiding fascination with it, our longing to return there, whether to sail the main or merely contemplate its restless enormity.”

In the works of Belgian painter Eleonore Bernair, that “restless enormity” of the sea is the absolute protagonist. Far from the romantic approach traditionally associated with seascape painting, Bernair opts for a hyperrealist style, generally in large-scale formats, creating scenes in which there is no trace of human presence, nor titles that might give an idea of the place depicted. We spoke with her about her intentions behind this decision, as well as her influences and her creative process.

theartwolf · Hello, Eleonore. Thank you very much for granting this interview to theartwolf.com. First of all, tell us about your beginnings, what was your motivation to become an artist, and what were your first steps as a painter?

Eleonore Bernair · I was lucky to receive an oil painting box when I was 8 years old, which allowed me to explore without fear from an early age. In my early years, I combined taking visual arts courses at St Luc Institute in Belgium, with sculpture evening courses. Later on, I worked in sculpture Restorations for the Ministry of Education in the St Gilles Academy. I organised and taught nude sculpture/drawing classes and workshops throughout my whole life.

theartwolf · On your website you highlight the current consideration of seascape painting as an independent artistic genre…

Eleonore Bernair · My true objective was to really master one topic. Give it all my attention, study it in depth and express softness as well as power, without falling into self-indulgence. Even though some want to believe that each generation of artists create new work, I believe that all of our work is built on that of our predecessors.

theartwolf · Do you feel part of a tradition? 

Eleonore Bernair · Very much so! I believe we are witnessing the emergence of a great number of amazing contemporary and self proclaimed artists, of which I feel part of.

theartwolf · What would you say have been your most important artistic influences?  

Eleonore Bernair · I was very lucky to collaborate for a while with Robert Arato, who tought me me to look beyond the image and explore the alchemy of a painting.

theartwolf · Maybe realist painters like William Trost Richards?  

Eleonore Bernair · Yes, indeed. William Trost Richards is a great inspiration, as well as Debat-Ponsan , Jean Leon Gerome Ferris, Alma Tadema. I am also fascinated by video game designers and their light mastery.

theartwolf · In relation to the previous question, seascape painting is traditionally associated with a romantic artistic approach, at least in Europe (Turner, Aivazovsky…) What made you decide to go for realism (even more, hyperrealism) to represent the sea?

Eleonore Bernair · I believe humility is key to succeed as an artist, it allows us to push our own boundaries and keep challenging ourselves. Although seascape paintings are associated with a romantic approach, I love painting in large formats, sometimes as big as an entire wall. The painting then tends to become intense, restless. My goal and challenge is to create something that isn’t just hyperrealistic and static. The paintings might look very similar to the picture, but I am keen on keeping the energy of the brush stroke present. I also like to play with my palette and composition to add a bit of tension and enhance what I have previously decided is interesting in the subject I am about to paint. It makes the painting feel real, organic and alive.

theartwolf · Your seascapes do not include any human presence, such as a ship or a coastal village. Nor are there any references in the titles that might give an idea of the place depicted. Could you tell us about your intention behind this decision? 

Eleonore Bernair · The beating heart of my work, my passion and creative force is really about water, more than anything else. Water to me is the symbol of might, spirituality, movement and life.  I purposely avoid adding hints of a place or name. I want to keep the spectator focused on the image, free from distraction. Locations or titles can be comforting and grounding (to me at least), so my aim is to dissociate this from the romantic bias seascape paintings are often associated with. 

theartwolf · When do you decide that a painting is “finished”, that the image you sought to show is ready?

Eleonore Bernair · A painting is finished when it has the capacity to move me, when I have that moment of pure bliss, being in communion with nature. When it’s not me who’s creating the scene, but the scene taking hold of my hand, consuming me and making me disappear into “universal knowledge“- I would best describe it as a sort of Hypnosis.

theartwolf · Finally, can you tell us about your future projects?

Eleonore Bernair · When it comes to future projects I still want to trigger stronger feelings to the viewer, every time I make a new piece. Nothing makes me happier than looking back at my earlier creations and see that I have captured new energies and feelings.

To discover more of the artist’s work: www.eleonorebernair.com