From black to color, watercolor writing to lithograph architecture, figure to sign but also from miniature to monumental format, from monochrome to flamboyant, in all the intimate chaos translated with strength and softness, here is the artist and “ecce opera”. Nathalie Verdier comes to art by ‘fugue’…

Born in the South of France, she leaves early her conventional nest to satisfy her creative desire not yet clearly define. She then drags her fragile silhouette to the School of Fine Art in Valence. She takes art classes with a predilection for drawing and painting where she finds the promises of her best expression. Her training time at the School of Decorative Arts in Nice is at the origin of her major choices: Against the main stream, rejecting new technologies, she chooses pencils and brushes to built her artist life: Drawings, engravings, collages and paintings give a new language to her secret thoughts.

At the end of her studies, Nathalie assists Pierre Chave in his studio in Vence. It is there that renown artists such as Théo Tobiasse and Hans Hartung have their paintings translated into lighographs. Engaged with printmaking, she develops a exceptional savoir-faire, experimenting daily the mysteries of the lithograph world. In love with the medieval Nice, she establishes her studio there.


Her first inspiration has been drawn on paper at the end of the eighties; mostly pencil, charcoal, black stone and Indian ink. She is influenced by the Masters such as Max Ernst, or Pierre Alechinsky. The color is sometimes present, sanguine….

At the limit of calligraphy, arabesques and signs appear at the center of the picture, found there at the rhythm of her perfectly orchestrated gestures. Shapes in motion, emanations of opera- classical music presides over the realization of the work- these figures are moved by a mysterious choregraphy. Tragic antic heroes, or reminiscences of ghosts, these crowds are like a marching army.

Their somber contours vibrate in synchrony with the white of the picture whose still silent space will become, years later, the theater of thousands citations. Their variations, allegro, fortissimo, reveal the complexity of the soul. At the beginning of the 21st century, paper is slowly being replaced by canvas: the painting evolves toward larger formats, composition explodes in polyptychs, as wall drawings: In 2004, it becomes the three dimensional décor of the Opera Bastille in Paris. The white at the background of the work disappears under an accumulation of little stories presented at the margin of the painting. The mystery emerges, a narration of fragments of histories subtly revealed as desires. The composition entertains a vehement dialog between the central stage and the marginal stories. The medium originally liquid becomes matter that, successively deposited and scratched, reappears becomes memory on the surface of the painting. Telluric layers, frescoes, vestiges… While the décor weighted by rich tones of ochers, golds and reds from the stage of the opera give their share of drama.

Text by Sylvie Lecat.