Following a visit to Yves Klein's studio in Paris, Bernard Aubertin was inspired to follow his work within the field of monochromy, a style that he adamantly adhered to throughout his career, choosing a vibrant red hue just as Klein famously worked in blue. He covered all over nail paintings with these characteristically bright red surfaces, creating monochrome yet intriguing compositions.
As outlined in Aubertin's writings, he sought to bring out the absolute "destiny" of the color, and in turn, what he calls the "pictoral essence" and a psychic/sensuous value, through monochromy. Within the color red there eists a compelling dichotomy. On the one hand it evokes violence as color of blood and fire and on the other it embodies an infinite and anonymous purity.
By the 1960's, Aubertin had introduced fire into his repertoire, a medium that effectively becomes the physical manifestation of his chosen color. Many of the works consist of abstract compositions using matches that were later burnt, creating variations caused by the spontaneous nature of flame. The process of creation is inherent in the final product as the viewer can clearly see the charred transformation that took place. In fact, the destructive nature of fire becomes a mode of creation and rebirth.
Since the 1960's, his work has been widely exhibited throughout Europe and USA, including the Solomon R. Guggenheim Museum in New-York, the Stedelijk Museum in Amsterdam and the Palais de Tokyo in Paris. Aubertin's work is included in the permanent collections of the Museum of Dusseldorf, the Guggenheim in New-York, and the Centre National d'Art Contemporain in Paris, among others.