Bernardí Roig’s artistic practice explores a society trapped in an era characterized by the lack of historic memory and identity. Through painting, installation, video art, filmic appropriation, or even the essay form (as seen in his compilation of «monologues» in the book Binissalem) he focuses on conflicts that develop due to absence of communication among each other. In a world taken by mass media, Roig’s individuals have lost the ability to distinguish between truth and fiction, as well as the meaningful and the trivial.
During October 2014, Bernardí Roig presented the intervention No/Escape at the Phillips Collection in Washington D.C., becoming the first Spanish artist proposed to participate in the project Intersections, that encourages the dialogue with the prestigious institution’s collection. If at La Lonja of Palma de Mallorca in 2012 he photographed thousands of people to turn their faces into tiles of strained expressions, in his exhibit in Max Estrella in 2011 he presented a video in which he appropriated a sequence of Alan Resnais’ Last Year at Marienbad to execute the tremendous act of sewing his mouth shut. That crude silence anticipates his photographic meditation of the passing of time in Naufragio del rostro (Shipwreck of the face), 2013-2014 –a series of self-portraits taken over a year that reveal his transformation into a monstrous being- and the poetic condition (maddened) of the contemporary subject in POETS, 2015 –polaroids of characters from the art world reduced to the condition of «abandoned» beings, estranged «poets» covered exclusively with a white sheet.