Davide Bernardis was born in Vienna in 1990. From the very beginning, he showed an innate inclination towards creativity and an artistic personality. He studied Arts in Trieste at the Nordio Art School for five years, obtaining a diploma in “painting and decorative art”.
Having always been a lover of the cinema, videoarts and photography, he travels extensively between Europe and the United States, developing a style in photography which oscillates between documentary and fashion photography, acquiring over the years a deep aesthetic sensitivity and concrete technical skills, shown by his taking part in many collective and personal exhibitions both of paintings and of photography and from the publications and reviews of his work in specialised catalogues and magazines.
In Trieste, for two consecutive years his work was on display at the international collective exhibition “Artefatto” and in various personal exhibitions, then in Milan during the festival “Mi Ami Ancora” [You Still Love Me] and at a collective exhibition at the “Design Festa Gallery” in Harajuku (Tokyo). Having exhibited at the Central Saint Martins in London , he then moved to Milan, where he currently attends the three year university course in “media design” at the NABA (Nuova Accademia di Belle Arti) in Milan.
Woman has been, throughout the history of art, a source of inspiration and the protagonist of the most famous masterpieces. Divine figure, symbol of sensuality and beauty, today she is becoming the fetish of the most unrestrained consumerism. Representing a beauty both extreme and unreachable, her image is now constructed, or better determined, as if it were the marketing strategy of a fashion house. The resulting crisis is more a aesthetical than economic one, celebrated in two shots which are not aimed so much at telling a story but at hitting the viewer, startling him or her for the sole purpose of being noticed by the public at all costs.
In the first shot, a 11 year old girl ( in reality a baby-model of the Pitti Bimbo fashion show in Florence) looks at her reflection in the mirror without recognising her image, being prematurely turned into a woman in make up and designer clothing. From the flatness of the image, built on two different planes, the lack of her curves is thus stressed, as well as the innocence that the spectators of the image are also contributing to violate. The mirrored legs create, at the center of the photo, two small breasts, the symbol of a femininity not yet blossomed, while in the background the large images represent an impending, but not yet naturally reached, growth.
The second shot is inspired by the post-mortem photos taken in the morgues, places where one would expect to find anything but the set for a fashion photoshoot. Here, a girl on whom an autopsy is being carried out, comes back to life once she has been re-dressed [ or covered up ?? in italiano, rivestita = dopo essere stata spogliata, ma anche = ricoperta. Bisogna vedere l’immagine – se si tratta di abiti, 1, se si tratta di tessuti, 2 ..been covered up ] and is “stuffed” with designer materials. On the bottom left handside, is the diamond-encrusted scalpel used for the operation, and which is responsible for the horrendous slash on the girl’s abdomen, leaving an open question which won’t be answered. Is this the immortality of style, or is its death?