EVA GENOVEVA WORK STATEMENT EVA GENOVEVA Everything is a portrait, even if it is a chair. - Every good picture has to contain a grain of venom.  (Lucian Freud)   Formal Characteristics: From a formal point of view Eva Genoveva`s work displays striking parallels to the U.S. precisionism. Contours and compositional lines are often overemphasized; dazzling, weird colours and an artificial illumination resulting in strong looking cast shadows are the means of choice. Backgrounds melt into stereometric basic forms whereas central, often disequilibrated subjects are meant to convey a maximum of  psychological truth-telling without frills. Her work focusses on the creation of an enamel- like surface structure radiating a strong inner light, which is in stark contrast to the currently prevailing pastose paint application. Long-term studies on painting technique resulted in the following, well-structured and controlled proceeding ensuring an almost infinite preservability: beech wood multiplex boards are coated with linen and covered with thin layers of half-chalk primer. After sanding and smoothing the surface, a preliminary ink drawing is made on the basis of sketches. Thereon follows the underpainting using egg- or casein-tempera and an intermediary tinged imprimatura on which the final oil glazes are applied.   Contentual Characteristics: The general approach is of an aesthetic, analytical, distanced and dissecting nature lacking spontaneity. At first glance, the idealized reflection of absolute order obscures the haunted, disturbing quality, such as the solitude of the individual, lurking behind. On closer inspection the various topics reveal their ambiguous core and the notion of vanitas inherent therein. The entire oeuvre nevertheless remains autobiographic –  subjects of the paintings are people closely related to the artist and the object- world surrounding her.