After a childhood in the South West France marked by the omnipresence of nature and the loss of his mother, he studied plastic arts at the Sorbonne University before turning to graphic design.

On the fringes of the art world, from 2007 to 2013 he produced the programmatic project Les Veilleuses, under the pseudonym Luc R, aimed at exploring the notion of memory and the fictionalization of experience that it underlies.

In 2012 he abandoned his work as an artistic director for auteur cinema and entered a research master's programme at the Sorbonne. He then became interested in Paul Ardenne's concept of disparitionniste aesthetics and questioned the disappearance as a subject and means of representation.

From 2014 to 2016, it is through this prism that he will question the aesthetics of the globalized dream and the fabrication of reality generated by social networks. This work, acclaimed at the Salon de Montrouge in 2016, will subsequently be abandoned in favour of a more intimate, more assumed painting, which questions the materiality of existence. Since 2014, Yannick Bernede has dedicated himself to his approach and to teaching..

"I want to paint existence, to seek its essence. But like water whose surface is constantly slipping away, existence is tinged with insignificance: expectations, latencies, moments that have barely been experienced and are already fading away. In order to tend towards the archaic of our experiences, of our sensations, I discard both the narrative and the symbolic. I tell nothing: neither narrative, nor demonstration, nor even past memories. What interests me lies below the words, only.

The choice of nature imposes itself on me, a perpetual confrontation of man with his own finitude. On the scale of a year as well as a life. Nature has no project, except to survive, to persist. I don't paint the nature of great spaces, of grandeur or of the sublime. I paint the nature of the city, where I live, where I wander, that which grows and resists in the interstices.

I walk the streets, the parks, collecting hundreds of snapshots of fruits, leaves, trees, reflections... But these polaroids are not an end in themselves, rather a support, a thread. The painting frees itself from them by its deviations, keeping only the masses and the contrasts. Contained and violent, it unfolds its language, replaying existence on the surface of the canvas.

I do not seek to affirm anything, just to show, to reveal at most. I paint what we cannot understand. I paint the inescapable.