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eve's technique : oil on canvas, layering/glazing technique on extra-fine canvas, on stretcher, size 15 x 19 x 0.7 inches, gallery wrapped, edges painted, ready to hang eve's story "eve's" should evocate an old miniature perhaps the front-page for a miniature-book telling us from the paradize, a place which eve and adam actually never left. everything else we heard about them is wrong. composition : the center is painted like 2 pages of an opened green book, a garden, with eve, on the left page, and adam, on the right page, and this green garden is based with a kind of enclosure - like old backgrounds of illuminations, painted with fully independent patterns - and surrounded with a range of trees all over the paradize I followed again the lesson of the ancient illuminator, who painted many details but used a limited range of colors, so that the whole image remained even and kept a scale above all these details and keen "collage" of backgrounds, shapes and colors. this painting is an exercise of collision of extremely deep and pure colors, while getting an "even" kind of tapestry. all shapes are painted in very saturated colors, mostly primary colors, cadmium-red, cadmium-yellow, ultramarine-blue and olive and cinaber-green on an ultramarine heaven background, with gold-ocker details ("writings") but eve's is like an even tapestry : indeed, the painting seen "in person" reflects a very happy harmony. no hurt, no high-point, but also no chaos-effect. - the digital colors are hardly able to show the softness of "eve's" - this softness can only be obtained painting a high number of coats of color, even of the same pigment, painted in very thin coats, in successive sessions, each coat drying before the next session. the result of it is not only that the colors are deeper or seem more "material", they are also much softer, like deep velvet.

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