After a master's degree in art history, Axelle Berlier is now an art curator. She interacts with artists daily, takes care of finding new talents for the future, present in galleries and online.

What makes her quiver every day? Being as close as possible to creation but also coming across new artists and supporting them in their success.

She is rather sensitive to street and pop art works, what they express, the message they convey, the power of gestures, colors and the artists’s entire universe. 

Discover her interview






How long have you been working at CDA? What does your job involve?
I arrived at Carré d'artistes in September 2020 for the 19th anniversary of Carré d'artistes! I am part of the Artistic Department where I exchange daily with the artists. I am also in charge of finding the new talents of tomorrow, the website and the different thematic collections that are proposed. Finally, my colleagues and I are also in charge of opening new galleries.

What is your favourite part of your job? Where does your passion for art come from?
What thrills me on a daily basis is to be close to the creation but also to discover new artists and to accompany them in their success. This passion for art was born relatively late, I would say that it was really revealed after high school when I chose to study Art History. It is more particularly Contemporary Art that has reinforced this passion that I try to animate every day.

What were your first steps in the world of contemporary art?
My first significant encounter with contemporary art was through the interstice of the artist Marina Abramovic. I was immediately fascinated by her body performances that blurred the line between art and life. 

Do you have an anecdote to tell us? With an artist / a client / a colleague? Something you will never forget?
I will always remember the emotion I felt when I received the first works of an artist I had contacted to join our network. This emotion accompanies me every day when I write to a potential new artist, always hoping to see him or her grow, flourish and evolve within our galleries.

Why do you think art is important?
I love art for its ability to express the unspeakable and to transcend reality.


Which style particularly touches you, why? What does it provoke in you?
I don't really have a style that moves me more than another. What speaks to me, challenges me and touches me is what a work expresses, the poetry that emerges from it, the message it delivers, the power of a gesture, of a colour and the whole universe into which the artist invites us. It is an emotion that cannot always be explained.
There are many artists whose work gives me an emotion. I am particularly sensitive to the work of the Korean photographer Bae Bien-U, to the captivating works of Pierre Soulages, but also to the work of Arte Povera artists such as Giuseppe Penone or the Land artist Andy Goldsworthy.

An artist from Carré d'artistes whose work you particularly like?
It's difficult to choose just one from the amount of talent we have. But I am particularly fond of Christian Hévin's work. I love his vibrant colours and the light that emanates from the canvases through the bits of metal that he incorporates. I am touched by the power of the artist's gesture that animates his canvases. Finally, the smell of his works, which he creates from an oil he creates himself, is bewitching. It is therefore a real sensory journey that his work gives me. 

If you had to describe Carré d'artistes in three words, which would you choose? Why would you choose them? 
Meeting: for the daily discoveries with the artists and their universe. But also for the encounters of the customers with the work of art that will find an echo in them.
Initiation: because Carré d'artistes allows you to discover styles that you wouldn't necessarily go for and also to refine your sensitivity to contemporary art over time.
Intense: for the emotion that a work can arouse in anyone and also for the exaltation that this work arouses on a daily basis.

Do you prefer small or large formats? For what reason?
Both. Some subjects are more suitable for small formats, especially more intimate works such as still lifes, illustrations or nudes. Small formats require a great deal of finesse and are a real feat for the artists. These works are all the more precious. The large formats allow another form of expression. They require a greater physical involvement on the part of the artist and therefore have a different and equally fascinating evocative power.

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