French artist Bertrand Meniel crafts intricate, photorealistic paintings that seemingly defy the bounds of opticality—a practice begun in 1996. Represented by New York’s Louis K. Meisel Gallery, the artist is currently the subject of his first solo museum exhibition, “Beyond Reality: Paintings and Drawings by Bertrand Meniel,” at the Parrish Art Museum in Water Mill, New York, on view through April 6, 2025. Comprised of both recent and historic works, the show invites viewers into Bertrand’s artistic world, wherein technical precision and creative expression meld into a cohesive whole.

Marking the occasion, we reached out to Meniel to learn more about what goes into his meticulous practice, and how he views this moment in his career.

Bertrand Meniel. Photo: Patricia Meniel. Courtesy of the artist.

What is your feeling on this momentous occasion that is you solo exhibition “Beyond Reality” at the Parrish Art Museum?

Photorealism is an incredibly demanding and precise form of art that requires not only technical skill, but also a considerable investment of time and energy. After nearly 30 years of practice, I have completed fewer than one hundred paintings—a testament to the commitment and level of detail each work requires.

The life of a painter is fundamentally solitary, but as Marcel Duchamp said, “it is the viewers who make the painting.” So, this exhibition is both a rewarding and risky moment. It is a great personal accomplishment to have this show, but it is also a moment of truth where my work must face the face the world. This encounter with the public is not just a transactional exchange, it is an act of connection, where briefly the viewer are I bound across time and space.

Installation view of “Beyond Reality: Paintings and Drawings by Bertrand Meniel” (2024-25). Photo: Gary Mamay. Courtesy of the Parrish Art Museum, Water Mill, New York.

Through this experience, have you derived any new insights or perspectives on your practice and how it has evolved?

The exhibition surveys 15 of my works chronologically. Early on, my practice was centered on a quest for technical precision. I was trying to create the most accurate representation of my subjects possible, and I was focused on pursuing the skills and techniques needed to achieve this goal.

Over time, a shift occurred. My approach gradually moved toward a less rigid, more intuitive pursuit. I realized that representing a place is not just about capturing its precise contours, but about expressing the unique atmosphere that defines it. Having mastered the brushwork, I let go of certain constraints to focus on evoking the ambiance of each urban space. I no longer solely aim to reproduce my subjects with precision, but to reveal their timeless qualities. Each painting is a balance between precision and emotion, where I attempt to capture what is unseen through a careful curation of visual elements.

From a technical standpoint, how do you craft your compositions? Do you work from one photograph or from several? Are there ever any imagined elements included?

It was Leonardo da Vinci who said, “Details make perfection, and perfection is not a detail.” Each part of my paintings is treated with the same attention; I make no distinction between the elements of my composition. The effect I seek is an image of great clarity, where each component equally contributes to the whole.

The experience of viewing my paintings is different from what one would have by physically being at the scene. The viewer sees a scene on my canvas where different planes are all in focus. When we look at something, the human eye must constantly adjust to see various planes sharply. What my paintings show is something that neither the human eye, nor even photography, can capture. Photography cannot reproduce the depth of field I aim to achieve in my work. To create the sharpness I need, I take dozens of photos with different focal points and combine them so that every part of the image is readable. This gives me an image that I then crop to become my working subject.

Bertrand Meniel, Las Vegas (2021-22). Courtesy of the artist and Louis k. Meisel Gallery, New York.

I consider the camera as an optical instrument that records lines and colors but does not infuse anything into them. It is a passive witness; it catches appearances, but it does not see. As a photorealist painter, I free myself from photography by modifying dozens of different photographs, enhancing and combining them, before drawing them on the canvas. The painting process then frequently involves changes to increase the coherence of the finished work. The creative process may begin with photography, but interpretation creates the work of art.

What do you hope to convey to viewers, both through your work at large and this show specifically?

I believe that the purpose of every artist is to illuminate the experience of vision. My intention is to draw the viewer’s attention to what usually goes unnoticed. For me, the very appearance of an urban landscape becomes a way to renew the act of seeing and perceiving the human condition.

People struggle to see familiar environments. We assume it lacks beauty or mystery because our relationship with it is practical. The fascination with photorealistic depictions of everyday objects lies not only in the technical prowess, but also in the often-overlooked beauty these paintings allow the viewer to rediscover. Objects, stripped of function or significance, gain dignity and relevance through artistic representation. Where a camera often captures objects by chance, the painter places each element intentionally on the canvas, dedicating hours to its representation. We may glance at a photograph, but we study a painting closely, as the elements within it become cultural and historic symbols of our civilization.

Bertrand Meniel, Carrefour De L’Odéon (2004). Courtesy of the artist and Louis k. Meisel Gallery, New York.

The exhibition also closely proceeds the release of a new book, can you tell us what went into bringing it to life, and what it means to you on a personal level?

This year has been an extremely exciting time for me. The exhibition at the Parrish Museum of Art is a significant moment, and the publication of this book is equally meaningful. This book coincides with a personal anniversary; 30 years ago, I made the decision to devote myself entirely to painting. This book is a tribute to the past three decades of creation, bringing together my entire body of work. The collection of information and images was a considerable effort. After working closely with Terrie Sultan and Otto Letze, who wrote extensive essays for the publication, I found that their questions and reflections made this journey a deeply introspective experience for me.

Bertrand Meniel: Paintings, 1996–2024 (Winter 2024). Published by the Artist Book Foundation.

What are you working on now? Are there any images or ideas you want to work with that you haven’t yet?

Right now, I’m continuing my series of New York. This city is always reimagining itself, and its perpetual movement fascinates me. Nothing there is fixed, and every return to a previously visited place reveals changes, as though the city constantly renews itself, in continual adaptation and redefinition. This fluidity inspires me, making New York an inexhaustible source, where each street, each facade, and each shadow tells a new story.

My field of exploration extends well beyond New York; as a French citizen, I find that the United States presents itself as a vast territory of visual experiences. I don’t limit myself to a single city or type of landscape. I am open to what comes next, whether it is an iconic or a discreet site. For me, each location is a discovery that invites viewers to look beyond the ordinary and perceive the fleeting beauty of the everyday.

“Beyond Reality: Paintings and Drawings by Bertrand Meniel” is on view through April 6, 2025.