Bernard Piffaretti's works and his artistic approach are among the central positions in the multifaceted field of painting and the constant discourse about the nature, limitations, and options of the medium.
Since the late 1980s, Bernard Piffaretti's work has been determined by the idiosyncratic principle of duplication, the image double. In doing so, he consistently follows an established pattern: a vertically set, colored line divides the canvas in the middle into two parts and the ‘image’ painted on one side is realized a second time on the other. This happens with immense formal and compositional security – without technical aids, a la prima, swift, and confident.
In addition to this fundamental element of "active re-appropriation of an already characteristic one" (J. Asthoff, 2017), Piffaretti relies on the productive tensions that come from the very act of "re-painting". It is these ever-visible slight variances, drippings, errors, and small, formal differences that actually pull together the two halves of the painting, filling their content with life and vivacity – they generate hence the contextual stage, which makes it possible to incorporate a diverse range of painterly 'contents' and to bring it on the canvas.