The situated one of Gian Berra




The situated one of Gian Berra


painter and creative operator


The artist follows paths infinites, and completely related  to its to feel. Its territories are those of every conscience. The artist contacts them all and creates relations representing that that she perceives from the contact with they.


Therefore its to make is to represent and to place to outside of himself that that feels.

The wild pictures, conferences on the creativity and its power, Totem, poetries and story, tests and creative sciamanism and the a lot other.


For information or contacts:



BIOGRAPHY of Gian Berra


Gia Berra is born in 1947 to Segusino, a small village of the “ pedemontana veneta”. Since from his early  youth he demonstrates a tendency to observe and to create an intimate relation with the atmosphere that encircles it. Like a need to meet to emotional level every manifestation of life. Gian is essentially one practical experimenter of continuous representation of that it lives intimately. Its need to manifest  himself with a “product” recognizable that that soon feels the door to play with the colours, the sign and the matter. A self-taught whom he observes and he tries methods and techniques in order to represent.


The first extensions are dated from 1970, continuations from growing constant engaging in way total just the time. It decides in those years to dedicate itself to the art like main activity.

It organizes and it follows the extensions in independent way.

To make hermit and stubborn. Decided to amuse itself until in bottom in the game being however in means to people and feeling of directly the wrist and to exchange of the thoughts.

In the 1976 part to Iraq, and ago its first experience directed with people therefore various, but therefore similar to its. People of the world are always the same one, always with much humanity and therefore little possibility to live it liberations. E’ a lesson that strengthens desire to express and to make to see to all the cargo of feelings hidden in those who carries them within of himself. But they do not know to express them.

in 1978 it opens its study to Covolo di Piave (TV)

In the 1980 it is moved to Trento where opening a artist’s workroom.

The idea is to create one open study also to other painters. A” cenacolo” of artists with which they can experience ulterior relations. E’ in this study that painter Bruno Donadel in the July of the same year will invite for one personal.

It organizes some personal to Cogolo di Pejo, Cles, Merano.

Returned to continuous Covolo the activity and the extensions in Veneto and personal to Milan and Torino.

In 1986 fascinated from a travel to Rome, series of exposures in the “ Castelli of Rome”. Especially to Lanuvio and Genzano. It continues these travels until to 1988. Meantime a familia has been made and like every artist hermit many problems are introduced with two sons to grow. It has a moment of pause and afterthoughts . It feels the requirement to watch within of himself. To inquire in those sides of its to feel that they push it to act. But that it does not know.

One is interested to the movement New Age and achieves one formation in Psychosynthesis.

For a long time it had been dedicated to the poetry and to write short storys.

He creates in 1991 with some friends, the Cultural

Association  “ The Criola”, to diffuse one increased idea to make creative.

It collects around himself several artists of the zone and organizes with they several collective. The scope and to let out from private who of it does not have the courage.


In 1992 it organizes the poetry competition “new age”, than with encounter anniversaries until to 2004 he has collected many friends with the passion of the poetry.


From 1993 it leads the “practical Painting Course”. The course is one school of turned practical creativity to all. In it Gian Berra instills all its practical one of creative operator. Thanks to it many persons have met “to make painting” like one precious possibility for one more complete and increased personal expression.

The course comes lead near its study of Covolo di Piave, and when demanded also in other centers. For a year it has been carried out also to Padova.


From the 2000 Gian Berra one has been interested to the problem of the rappresentazione of “the hidden” contents of feeling with the discovery of the value of the Totem like concrete and alive symbol of the expression of himself. It has created you vary Totem exposed for before the time in its staff to Benzi Villa, Caerano di S. Mark (TV) in the september of 2001.

In that period it has held several public conferences on the topic of the Totem and the process of the formation of the Fear like obstacle to the expression of himself.

It has resumed in those years the production of terracotte of small dimension, inspired to feeling and expression of the spontaneous primitivism.




The look of a bewitched child: The painting of Gian Berra.

Gi last exposed pictures do not refute the nature without time of feeling of Gian Berra. its infancy returns with the colors and the shapes digested from when from child passed the summers in the pedemontana veneta. Useless to try of giving abstruse contents and it crafts them to its art. Gian Berra is. Real and irreverent. E’ in its naivete.

Like a piece of nature that ripropone because discounted, immutable, knot.

Nevertheless charming and mocking like every thing that was believed surpassed. Its truth is raw as the obviousness of that it exists. Nevertheless it knows to fascinate because sincere. Gian Berra indeed believes us to that that it paints. Its illusion knows is it, but it cannot any make less, in how much sweetheart.

Also the color does not have outlines: stiff and sometimes,  vaporous sometimes often and decided. Nearly disrespectful.  But always present with infinite shadings that render the idea rambles. Nearly that the painter asks the observer to make a little ulterior hard work and to enter with force in the picture. To speak with he.

Gian Berra asks a dialogue. but ago with its rule: to have the courage to throw itself in the dream to open eyes.

And the dream is more than real.


Romano critical Finzi B. of art year 2000



The spell of one flutter:  Gian Berra to Villa Benzi 2001



He given to me a its picture some years ago. Not memory in that occasion. It came hung in a wall angle and nobody made great case us, in how much one between many. But a day, in an afternoon of festive pause the eye came captured like from invite, stopping a moment to me. It seemed that those old ones to the tavern spoke to me taking advantage about the fact that had calls them to you.

I felt endured their calm and their infinite time. The colors were soothe but the brush stroke one to you without  afterthought.

They were enough if same. But they asked me to share a moment with they.

Of a little they ignored me. But hour that there was I could also makes me ahead.

From then, when step in front of the painting (inner of tavern), I feel that I have of allies to you without reservoirs. They are from my part.

I thank Gian Berra for that they give to people. The social scope of an artist is of being himself same. And it succeeds to us well: its art door with himself values that they do not change. Silent values, with horizons infinites.


Maria Helker, collector.



Gian Berra, a post impressionist to the veneta.


In agreement, every definition is discounted and renders the idea of the universe of an artist little. But in the event of Gian Berra it can be said that “to feel Veneto” of the truth it has been manifested in a period like puts into effect it them, where the obvious one is expired in favour of an artificial and by now widely dialectic artistic mentality Today that that the mind from its deep one tries as vent… more and more is tricked from the illusion of that it can be rationalized, but not more from that it can… be felt.

Gian Berra does not face not even the problem. It feels and express the obvious one directly.

And in making it he amuses themselves and he plays. And that from a precious content and witch also the cunning mind more. Also when ago feint not to see.

The painting of Gian Berra does not have time. E’ exactly a “Totem”, with complete an indefinite temporal value in how much and essential one.

The obvious one is banal only when without contained and deceptive. The technique of Gian Berra is fruit of one experience than more 30  years and from a spontaneous and vital enthusiasm. A rare gift that it is not made to weigh in how much giocoso and self-ironic with tones of nostalgia for the golden period of infancy. And sometimes a sadness vein mitigates the dream. And the painter seems to make excuses itself to have it express. More Veneto than therefore… not can.



Rosario Trentin, critic of art 2004












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