Finding Artistic Voice: Creating Cinematographic Moments in Unique Frames

Transmission 206: Interview with Marie Bergeron

Freelance illustrator, visual artist, and graphic designer Marie Bergeron is recognized for her emotionally charged, cinematic compositions. Her work captures motion, atmosphere, and narrative within a single frame, combining traditional techniques with modern tools. She primarily works with digital media and draws influence from various sources, including video games and films.

Her pieces often focus on a single, sometimes intricate yet clear subject. Her detailed poster art and alternative movie designs—reinterpretations of classic films, video games, and cultural events through a highly emotive lens—contributed to her public recognition. Known for her strong linework, rich textures, and instinctive storytelling, she has carved out a distinct space in contemporary pop culture illustration through collaborations with international companies, musicians, and film studios. She is based in Montreal, Canada.

Marie Bergeron‘s Official Site | Facebook | Instagram

Could you tell us a bit about yourself? Who influenced you as a person and as an illustrator? Have you always had a clear idea to pursue a career as an illustrator since your childhood?

Of course! Born and raised in Montreal since 1985. I always had a curiosity towards art in many forms but now I look back at what I was or what I liked, it was mostly imagery that really stroked me. I found it quite interesting, especially in movies. I think there is a part of me that wished I had found a carrier as a Director of Photography of some sort. I was mainly influenced by what I was seeing rather than someone. To continue on, I never really knew where I was going. But I knew it wasn’t science haha! At the age of 18 I thought cinema was the place to go, but it quickly changed.

What were the main challenges at the beginning? How did you overcome them?

I guess like every solo artist. Making a name. And like everyone who manages to get by, they will all say the same: time, patience, failures, successes, constructive criticism, pushing yourselves, work hard and play after. Money was also an issue since at first clients that came your way are usually not the one you wish you had. Low budget, time consuming, tight deadlines, and also some clients who decide that paying you is just too much work….thank god this is only at the beginning. Time will set you on a better path and clients that respects you will then come your way.  

Your work often combines realism with a kinetic, emotional rawness. Movies have a huge influence on your artwork. How do you decide where to anchor detail and where to let things unravel?

Good question! I think what I’m always trying to aim at first is the emotion going through the image. If it needs more details to speak what I want or rather the opposite, I will do what must. Sometimes I think too much detail can become noise to what you are trying to tell. And I usually like to express myself in the environment of the composition rather than the likeness of an actor for example. And I find myself usually having more fun in a unravelling way.

I read you’ve said that you’re inspired by film, music, and video games. Many artists find inspiration in unexpected places. Could you share an unusual source of inspiration that has significantly influenced your work? Have there been any non-visual experiences that have shaped your visual voice?

I think there are people that come your way in your entourage that might influence you. A friend, a teacher, another artist etc. Just someone who kindly believes in you, or pushes you in a way, can be an influence. Opening yourself also definitely helps. Being a good listener. Being curious about people, culture, cities, world…all these are doorways to your creativity. 

Is there a specific moment in your process when the image “clicks” for you? What’s a creative risk/choice you took that changed how you approach your art?

It’s mostly during the sketch. This is where all the magic happens. And this is when SOMETIMES, the best idea pops. It’s usually when I’m relaxed and taking a bath haha. The scariest part of being an illustrator is finding your style.

Color plays a significant role in your art, often setting a distinct mood. Can you discuss your relationship with color and how you make your choices?

Ah! That is something that I learned along my years. I found that every image that I kept as an inspiration has one thing in common: a very limited color palette. I found my love through it very quickly. At first it’s almost unsettling to work that way, but once you see what it can create and what it brings to the image, I automatically provided this on most of my images. So my relationship with the colors are very close. I’ll say that after composition, it’s the second most important thing for me. 

Analog and digital techniques. How do those two worlds interact in your workflow, is one more emotionally satisfying than the other?

Personally, I am just not good with analog approaches. It’s like I never drew before…But I like to start my ideas on paper. It’s quicker, easier and enables me to draw ideas very quickly. The form is not important at that stage. Then, I switched to digital. Because it gives me the potential to change things around easily. I think seeing the final art, digitally, has something more special to me than analog.  

You’ve worked on a variety of projects, from personal pieces to collaborations. How do you navigate the tension between commercial appeal and personal authenticity in commissioned work? How does your creative process adapt depending on the context and the level of autonomy you have?

I think both are important in a way. Personal work is there to ensure you are passionate about what you do. Also it gives you the opportunity to work your way, your flow and on something that truly matters to me. Finally it’s a way to try things around and showcase what you do. Honestly my process is pretty much the same with personal and commercial. Commercial means that you work to please someone that pays you. So in a way, sometimes you need to go their way. Which ain’t always bad! These days, personal work takes less space than before. I’ve been extremely busy with clients, which is a good thing. And also it means that clients trust me more and more. So both of them kinda merge in a way. 

In a world saturated with digital imagery, what unique value do you believe traditional illustration brings to storytelling and visual communication?

It brings a lot! But I do believe that both are important. What matters is the person behind and what is the story or emotion they want to share. But that’s what’s the most difficult to do: Having your name sticking out from a big big bunch of images. If you manage that, you won.

Photo and images courtesy of Marie Bergeron

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.