Eduardo Berliner had originally resisted using oil on canvas because of its weighted tradition, loaded with social, political and cultural associations. Eventually he came to recognise that the medium’s resilience lay in a unique temporality, unlike the uninterrupted flow of photographic images that populate the modern world. Berliner utilises this tension between painting and the image to question the authenticity of memory and direct experience. The artist’s primordial relationship to the physical world alters his perceptions of daily surroundings, allowing his paintings to become manifestations of tacit assumptions and misunderstandings. Berliner’s humanistic renderings of living things, scenes from the natural world, plant forms, animals and people, revealed shared relationships contingent on unlikely occurrences. They attest to the slippage between invention and memory, between indifference and trauma.

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