Eva Nielsen’s paintings are a true invitation to the eye to wander over it. By the variety of strokes, contrasts and textures, there is much to experience on a pictorial level. This is not just a painter for whom the painting process is important, but also someone who takes risk in it. The eye is leading. As soon as the attention of the eye weakens, it is time to apply another painting technique or paint type. Nielsen’s paintings often consist of three or four layers. The bottom one is simply a layer with white gesso. The same gesso, sometimes also in black, is now and then used in a top layer as well, to give depth. That it is not meant for this purpose doesn’t bother this inventive painter. Parts resemble watercolour but turn out to be endlessly diluted acrylic, in some sections like the cloud formations the painter applies photorealism, oil paint turns up only summarily and is mainly used in order to give relief to the whole. Already since art academy, Eva Nielsen practices silk screen print in order to stick out a central object of the painted landscape or background. A contrast that is enhanced by the fact that the silk screen is executed in black and white. Another find is the use of the printer. The print comprises always the last or top layer of the painting. It remains a startling idea that a painting is ‘validated’ by running it in its totality through the printer. The paintings from the series Lucite and Aphakie have undergone this treatment. These techniques probably work so well for her because it allows even more space for risk taking. After all, the result is uncertain and it remains to be seen whether the print or silk screen is in harmony with the previous layers. Analysing her paintings, it is noticeable that Nielsen has let go of the control during the last two years and has welcomed flaws and inaccuracies. This reflects not only a greater self-confidence; it has led to freer paintings too.