In the sixties, Bernard Frize studied art at the academies in Aix-en-Provence and Montpellier, where the teaching of painting was divided between academic tradition and the new contemporary currents. He was deeply involved in the events of May 68 and gave up painting for several years because of the difficulty of reconciling the practice of art with his political convictions. Later he took it up again from a decidedly Marxist stance, the feature that would define his work from then on. From that position he renounced painting as personal creation in which to express a state of mind or a theme, whether from figuration of abstraction, and set out to investigate its material nature as an indissociable part of the work of art. His work, influenced by artists such as Morris Louis, Frank Stella and Kenneth Noland -who belonged to the American "Post-Painterly Abstraction" school, which repudiated inspiration and expression in painting-, shows his interest in the material itself; in order to develop its potential, he created new application methods and techniques. Like painters such as Jonathan Lasker, Gerhard Richter and David Reed, he works on the modus operandi of the medium itself, painting: its material nature, its stylistic codes and its history.