Due to the war experience of his early youth he has formed a critical view on society. Besides his successful commercial career, he has dedicated himself to the arts striving for a plural view and intuitive creativity. In his abstract paintings one can find traces of Greek, Russian and Eastern iconography like in geometry (PLATO). "Secrets wait to be uncovered."

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On the one hand, the work shows the extremely important relationship between the emotional and the cerebral. On the other hand, the work shows the attempt for reconciliation between concrete and abstract, between body and mind. He wants to convey the message that we all wish to discover unconsciously. On one side, his work contains a cool, cerebral, cosmic energy and, on the other, the necessary emotion that longs to come through. He mentions engaging himself in Luminism. He looks in his compositions for the encounter of figural and abstract, for the synthesis between microscopic effects and monumentality. His works carry an astral aspect as if painted in stardust; they seem to originate from a world of harmony and peace. Furthermore, he wants to reflect the mystery of life. He queries words like 'modern' and 'post-modern', words so often used by contemporary philosophers, as if the presence exists no longer, as if we are nowhere in time or space.

 

Bernard Bergman quotes the following: "I experiment with new processes, new techniques, new working methods and I use pictorially 'scientific' or 'instinctive' laws in order to reach new, surprising expression in painting. With these pictoral experiments I am predominantly aiming at ways of expressing the radiation of light in a geometrical field of forces. Without most of us realizing it, our eyes register every detail, including surfaces, much better than any digital camera. I discovered that the eye registers more than we assume we see. I am more or less fooling the eye in such a way that new insights into my work are constantly being discovered. In my works, I fix countless dots that represent a message of light in a geometrical field of forces in a wide variety of colors. The viewer is supposed to look with the artist." The viewer feels tempted to touch with the hand and feel whether the relief is real or merely suggestive as if the eye is not trained to deal with those suggestions, illustrious illusions."

 

In his pictural experiments, he demonstrates that there are still new possibilities to develop the pictural experiment further. He certainly does not feel restricted to one single object, one strain of thoughts, that would limit the Universal considerations.