For her first solo exhibition at Dominique Fiat Gallery, Eva Nielsen (born in Les Lilas in 1983, graduated from Ecole Nationale des Beaux-Arts de Paris in 2009 with Félicitations du Jury) shows new works, from different series of works in process, dealing with imaginary landscapes and inventories of places. A feedback, like the title of the exhibition and the picture on the opening card where two canvases Passagers 2009-2010 are shown, ready to move from her studio to the walls of the gallery. Along with other paintings, they are forming for a while a common landscape of stunning places, apparently free from humans.Together with its common meaning that probably refers here to the importance for an emerging artist of having her first solo exhibition in a gallery, like an inventory of what defines her own « style », feedback also refers to « an object controled by the margin of error that seperate it at a precise moment from the aim that it tries to reach ». It then refers to a perfect explanation of the very constructed way that Eva uses where the retroactive effect of the vision always explains the stunning images of creation. Pair of billboards, road signs lost in a deserted landscape Passagers I et II 2009-2010, forgotten breachs in walls Riversaltes 2010, parts of tunnels opening on mirages Feedback I et II 2010, paintings of wretched houses where the horizontal format plays the part of a narrative instrument K 2010, single machines waiting to be activated Témoin 2010, everytime, the scene built by the artist out of real elements is partial, seen through an obstacle, a structure, nearly like a visual instrument that would interfere on the perspective and the organisation of the elements on the canvas. We are looking at images, from landscapes to still paintings, blocked by inert objects where even if our vision finishes on a dead end, our mind can wander. The artist takes pictures (in the South of France and Spain), draws on her notebook (of playgrounds in parisian suburb), put together images she finds (press photos) and uses these elements to paint and make patient works of composition and sketches where the different transparent layers of paint, colour and flat tints are marked and precised, where the serigraphied areas like effects of matter are clearly delimited in advance. Together, they form an outstanding and contemporary landscape where our eye will quickly recognize « non spaces » and territories in progress that have already lived too long. Separately, these works show the artist’s skill, witness and joy she feels when telling us on the reality in painting.Clément Dirié