at the École des Beaux-Arts de Valence during her youth enabled her
to practice and master academic drawing as well as to learn art history, from
Bourdin to Giacometti. Her increasing understanding of drawing quickly led
her to her own signature style.
In 1983, she began studying at the École des Beaux-Arts de Nice, a time
that proved to be one of experimenting and questioning. It was also a time
during which her work was greatly influenced by Zao-Wou-Ki. In 1984, she completed
drawing for Prêt-à-Porter and for Haute Couture. She then concentrated
on working her spontaneity and speed of movement. At the same time her work
at Pierre Chave's workshop allowed her to print lithographs for Ernst, Tobiasse,
Cottavoz, Le Broquy, Franta, Curozau, Haiting and Rochon.
In 1989, she had her first exhibition in Nice where she unveiled her drawings
in black and white in which the white of the paper appeared to play with the
restless silhouettes. Encre de Chine and Japanese paper gave her style and
extreme-orient appearance that she more or less wanted. Two years spent in
California helped her free herself of these influences.
While in California, Nathalie Verdier participated in numerous exhibitions,
notably at the Open Studio in San Francisco. At this stage of her artistic
development, the spaces around her figures began to be filled in and structured.
The appearance of signs and symbols denote her move toward abstracts and her
departure from minimalism.
From 1995 onward, she participated in New York's Art Expo and in 1996 some
of her works on paper were exhibited at the Galerie J. Otmezguine in France.
Nathalie Verdier's work tells a story, explaining and observing. It represents
passions, vibrations and inner feelings that bring the subjects to life. She
tracks down the minute details of life and transforms them into a pictorial
fairytale and frames them in a lyric setting. The colors appear as if to soften
the spell cast by her ebullient characters.