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Throughout the history of Japanese art, from Buddhist paintings and nikuhitsu-ga (肉筆画, a form of hand-painted Japanese painting in the ukiyo-e art style) to many masterpieces of contemporary Japanese painting have been created on a unique material known as eginu (silk canvas), giving them a profound beauty unlike that of works created on other surfaces.

In Japan, where silk has long been used as a substrate for painting, artists have developed distinctive techniques that make the most of the material’s unique qualities by utilizing its elegant texture. To bring out the full potential of silk canvas and create beautiful works of art, a thorough understanding of the proper preparation processes is essential.

Contents

1. Understanding Eginu: The Characteristics and Painting Techniques of Silk Canvas

Eginu refers to fabric woven from delicate silk threads specifically for use as a painting substrate.

In contrast to the warmth and strength of washi (Japanese paper), its greatest appeal lies in its refined luster and its elegant, translucent, finely textured painting surface.

First, let us take a closer look at the microscopic structure of silk to uncover the secrets behind the beauty of eginu.

The Beauty Hidden Within the Material Structure

Visual Aesthetics: The Secrets Behind the Silk’s Luster and Translucency

Kiginu (生絹, raw silk canvas) is a fabric woven from animal-based silk threads spun from silkworm cocoons, using kiito (生糸, raw silk) that has not undergone any refining process.*

When light hits fibroin, which the cross-section has a clean triangular shape, it undergoes repeated refraction and reflection within the fiber, much like light passing through a glass prism. This microscopic structure scatters soft light in multiple directions, creating a deep, lustrous glow reminiscent of a pearl. The combination of this diffuse reflection and the delicate weave of the fabric contributes to its translucency.

Even the unpainted areas of the fabric can appear to shimmer depending on the angle of the light. This is a result of the same prism-like effect.

* Refining: The process of washing away stiff components and excess impurities from silk threads using alkaline agents and other substances before they are woven into fabric.

The Relationship with Brushstrokes: Silk’s Tension and Fine Texture

Unlike the softness of silk used for clothing and other textiles, silk canvas has a crisp, moderate degree of tension before it is used for painting. This difference is due to the treatment process known as refining while producing the silk yarns. 

Most silk products are woven from neri-ito (練糸, scoured silk), from which the gummy protein known as sericin has been removed through the refining process. Silk canvas, on the other hand, is woven from nama-ito (生糸, raw silk), with the sericin left intact.

Retaining the sericin helps keep the weave uniform while also preventing the fabric from losing its shape during storage. When this evenly woven fabric is stretched onto a wooden frame, it creates a firm painting surface that can properly respond to the pressure of the brush. The combination of this ideal degree of tension and the smooth, finely textured surface created by the ultra-fine silk threads allows artists to produce distinctive brush movement and a painting experience unique to silk canvas.

Painting Techniques That Highlight the Beauty of Eginu

Eginu’s translucency allows underlying colors to subtly show through, while its flat, finely textured surface provides a smooth painting ground. By bringing these qualities to the forefront, silk canvas allows a distinctive range of expressions and traditional painting techniques.

The Beauty in Shades: Explore the Color Vibrancy with Blending and Gradation

On eginu’s finely textured surface, pigments appear extra vibrant and luminous, with a fresh, almost translucent quality. Because the paint flows smoothly and blends naturally along the weave of the silk canvas, it is also ideally suited to creating soft transitions, subtle blending, and delicate gradations of color.

Translucent Beauty: Ura-zaishiki (Back-Coloring) and Ura-haku (Back-Gilding)

* Urazaishiki: 裏彩色, a technique to paint from the back of the silk

Urahaku: 裏箔, a gilding technique to apply metal leaf from the back of the silk

These techniques create an ethereal, dimensional effect that cannot be fully achieved through working solely on the front surface. When color or gold leaf is applied to the back side of the silk, the pigments and light pass through the fabric, allowing them to subtly emerge through the surface of the painting.

At pigment.mom, we offer three thicknesses of silk canvases made in Japan. We recommend using the thinnest option, Eginu Silk Canvas 2 Chohi Deluxe, if you wish to utilize the most of eginu’s exceptional translucency. 

▪️Ura-zaishiki  (painting the back of the silk)

Comparison of the Urazaishiki Technique as Seen from the Front
Left: Painted the front only / Right: Painted from the back
 
[Art materials used]
Pigments: (Front) Suihi  Hiwairo・Rokusho
　　　　 (Back) Suihi  Botan
Binder: OX glue liquid 20％ concentrated
Substrate: Eginu Silk Canvas 2 Chohi Deluxe

Urazaishiki is a traditional technique in which pigments are applied to the back of the silk canvas. By doing so, the colors subtly show through to the front, creating rich and layered tones with depth.

Even when the same pigments are applied to the front, the presence or absence of the painted back, as well as the colors used in the Urazaishiki technique, can significantly enrich and transform the appearance and the sense of space within the painting.

[Related Article] To learn more about Urazaishiki technique and its effects

▪️Urahaku (applying metal leaf on the back of silk)

@Margarita Serizawa
“Plitvice” by Margarita Serizawa

The Urahaku Technique as Seen from the Front
[Art Materials Used] Mineral pigments, animal glue, Saiboku (color ink stick), silk canvas, Kozo paper (for backing)

Urahaku is a technique in which metal leaf is applied to the back of the silk canvas. The light is reflected directly when metal leaf is adhered to the front, producing a bold and intense brilliance. However, with the Urahaku technique, the silk softens the light and produces a more delicate and subtle effect. 

The light from the metal leaf filters through the fine weave of the silk canvas, creating an ethereal radiance that transcends the depth of the painting.

[Related Article]

The Characteristics in Each Eginu Type / How to Select the Right Materials Based on Artwork Formats (Scrolls or Framed) and Your Artistic Style

2. Preparing the Ground and Its Purpose

While silk canvas has a beautiful texture and unique elegance, it is also highly sensitive to moisture. If painting begins without proper preparation, the silk can shrink significantly when exposed to water, and paints may bleed through the canvas uncontrollably.

To bring out the full potential of this material and achieve the intended expression, we recommend three preparatory steps: mounting the silk onto a wooden frame, pre-treatment with the yubiki technique, and dosa sizing.

Stretching the Silk onto a Wooden Frame

Before painting, the silk is first stretched and mounted onto a wooden frame or panel.

This process not only prevents distortion of the painting surface, but also provides an essential foundation for techniques that utilize the silk’s translucency.

With the right tension from the back of the silk canvas, artists can apply techniques like Urazaishiki and Urahaku easily. At the same time, the evenly stretched surface makes it easier to create smooth gradients and delicate transitions of color.

For reference: "Stretching Eginu onto a Wooden Frame"

Yubiki: Pre-Treatment (Shrinking the Fibers and Removing Impurities)

To preserve the delicate silk paintings long-term and stably, the finished work must be fixed with the Urauchi backing* after completion. While preparing the canvas, a pre-treatment called Yubiki (湯引き) is used by applying hot water to the silk with a brush to sufficiently shrink the silk fibers in advance. This helps minimize subsequent expansion, contraction, and distortion during the backing process.

This treatment also helps denature and remove residual oils and sericin from the silk fibers, preventing the sizing and pigments from being repelled by the surface. Sericin is a protein that undergoes thermal denaturation at temperatures above approximately 80°C and dissolves into water. Therefore, please prepare water at around 90°C for this process.

[Related Article] About the Urauchi backing for silk canvas

Dosa Sizing (Preventing the Paint from Bleeding) 

Dosa sizing is a substrate treatment used to prevent unwanted bleeding of paints and improve their adhesion to the silk. It is an important step that has a significant effect on color, the finished appearance, and even the long-term preservation of the painting.

Kiginu (raw silk) absorbs moisture rapidly, so if it is used without any preparation, the painted lines and colors will bleed through the canvas easily. To prevent this, a dosa solution made of animal glue and water is applied evenly across the entire surface, forming a transparent film over the fibers.

This allows the artist to create precise lines and apply colors as intended. It also helps the weave and tension of the silk surface stretch evenly as the moisture in the silk gradually evaporates during drying.

If you wish to utilize the bleeding quality of raw silk, dosa sizing may be excluded when painting with sumi ink only.

For reference: "Applying Dosa Sizing to Silk"

3. Stretching Eginu onto a Wooden Frame

Art Materials and Tools Used

Left: Wooden frame / Eginu silk

Right: Starch paste / Plastic spatula / Pushpins / Scissors / Paper palette

Eginu Silk 

・Size: The silk needs to be stretched and secured under tension, therefore, cut it slightly larger than the outer dimensions of the wooden frame.

(Note: The actual painting area will be the inner dimensions of the wooden frame, so please keep that in mind when deciding the cutting size.)

・Identifying the front and back: The inner side of a rolled silk fabric is the front. Face it up as the painting surface. 

・Orientation (horizontal or vertical): Decide the position of the silk based on how the finished painting will be mounted.

・Checking the thread direction: If the painting is to be mounted as a hanging scroll, position the warp threads vertically from top to bottom. This will make the subsequent mounting process smoother.

[ Thread Direction and Characteristics ]

・Warp threads: This is the direction in which they trimmed the edges. The fabric tends to retain its rolled shape and naturally curl inward.

・Weft threads: The left and right edges have a tightly woven selvage (known as mimi, or the ear, in Japanese). Compared with the warp direction, this side is less prone to curling.

・What to do with the selvage: It can cause pulling or distortion if you stretch the selvage as it is. Therefore, it is important to make evenly spaced cuts along the selvage or trim it off completely before mounting the silk.

[Related Article] How to trim the selvage

Wooden Frame: Prepare a wooden canvas frame, silk-mounting frame, or similar frame to which glue can adhere.

* Please note that the actual painting area will be the inner part of the frame.

Katanori or Starch Paste: For the long-term preservation of the artwork, use either katanori (a glue made by cooking wheat starch paste) or store-bought starch paste, such as shoji glue.

* Note: Store-bought starch paste is used in this article.

* Please avoid synthetic adhesives containing chemical bonding agents such as acrylics. Their rapid drying can cause distortion when mounting the silk, while their strong adhesive strength may potentially lead to damage to the painting surface.

[Related Article] How to make a Katanori glue paste

Scissors: Prepare a pair of sharp, clean scissors that have not been used to cut any adhesive tape or other sticky materials.

Pushpins: Used to secure the silk after mounting, preventing it from shifting as it contracts during drying.

For your reference: About 50 pushpins are needed for an F3-size wooden frame (273 × 220 mm).

Spatula or Noribake (Paste Brush): Used to apply paste to the wooden frame. A plastic spatula is easy and convenient for applying a precise amount of paste and is simple to clean afterwards. If using a paste brush, a Tsukemawashi bake (Thin Paste Brush) for detailed work is recommended.

Paper palette or acrylic board: Used for kneading the starch paste to the right thickness.

Methods and Steps for Stretching the Silk onto a Wooden Frame

Here is one of the basic methods as an example. Please check out the following tutorial video and step-by-step instructions for a simple understanding.

【TUTORIAL】Mounting the Silk Canvas

How to Mount (Steps 1 - 6)

1. First Application: Apply a sutenori (primer glue) to prepare the wooden frame

Apply glue paste to the flat surface of the wooden frame (apply it to the back if it is on a canvas frame). Spread the paste thinly and evenly using a spatula or paste brush, then allow it to dry completely.

Apply the paste along all four sides, leaving a gap of about several millimeters to 1 cm from the inner edge of the frame. Leaving this gap helps prevent the paste from dissolving and seeping out when moisture is absorbed during dosa sizing or painting.

・Sutenori (a seal coat of glue paste)

New wooden frames tend to absorb paste too much, so this pre-treatment helps prepare the surface and improve adhesion. You may skip this step if you are preparing on a used wooden frame. 

2. Second Application: Apply paste to the wooden frame for attaching the Eginu silk

Once the sutenori paste has dried sufficiently, apply a second coat in the same manner as in Step 1, leaving a gap along the inner edge of the frame.

This layer of paste is what secures the silk to the frame. If any areas dry out during the process, reapply paste to those areas as needed.

3. Place the silk on the wooden frame

While the paste is still wet, quickly place the silk onto the wooden frame. Align the silk so that it is upright and parallel to the frame, then gently unroll it in the direction in which it was originally rolled. Position the silk so that its edges extend slightly and evenly beyond the frame on all sides. By doing so, it will make the following steps easier.

4. Apply paste over the silk

Apply another layer of paste over the sections of the silk that overlap the wooden frame.

Again, leave a gap of a few millimeters from the inner edge of the frame. Then, press the silk firmly against the frame along all four sides with a spatula or your fingertips, from the inside toward the outside to push out any trapped air.

5. Secure the silk with pushpins

Gently pull the silk by hand to create some tension while smoothing out any wrinkles, then secure it with pushpins. The pushpins prevent the silk from shifting as it dries and help maintain an evenly stretched surface.

Begin by placing pushpins at the four corners and at the top, bottom, left, and right sides of the frame. Then secure the remaining areas while adjusting the tension wherever wrinkles or puckering occur. The silk contracts more significantly in the warp direction, so using more pushpins in this direction will help achieve a smoother, more even finish.

6. Drying / Final Step

Allow the silk to dry thoroughly in a well-ventilated area, leaving the pushpins in place. Once the paste has completely dried, remove the pushpins.

Recommended drying time: Half a day or longer.

4. Preparing Dosa Sizing and Calculating Its Concentration

At pigment.mom, we recommend a method using our original products, "Pig glue for sizing 20％” and “Pig Skin Glue (Suitable for Dosa/Sizing)”, both made without alum.

Because these glues help prevent the deterioration and discoloration of Washi paper and Eginu silk caused by acidification, it is particularly well suited for works intended for long-term preservation.

Materials and Preparation

With Pig glue for sizing 20％

Art Materials and Tools Used
・Pig glue for sizing 20％: 

Easy to use when only a small amount is needed or when you want to prepare the glue quickly, as it can be used simply by diluting it. 

It contains a preservative and must be stored in a refrigerator.

・Water (*In pigment.mom, we use soft water, but tap water is also suitable.)

・Mixing container (A clean container made of stainless steel or glass that allows you to mix the glue easily.)

・Container for double boiling and hot water

・Stirring stick (A glass rod or spoon.)

How to Prepare the Dosa Solution

1. Place the whole bottle of Pig glue for sizing 20% in hot water and double-boil it until the glue has completely dissolved.

2. Measure the glue solution and water, then combine them in a container. Stir thoroughly to ensure that the mixture reaches a uniform concentration throughout.

With Pig Skin Glue (Suitable for Dosa/Sizing)

This method is suitable when preparing a larger amount at once, such as for a large-scale painting project. Because the glue must first be swelled and dissolved, it will take more time to prepare the dosa solution. However, the glue can be stored for long periods at room temperature in its solid sheet form.

When storing the glue sheets in a hot and humid environment, place some desiccants in the storage container.

[Related article] How to prepare dosa solution from solid pig skin glue

How to Calculate the Concentration and Amount (Dilution Calculations & Quantity Chart)

The effectiveness of the dosa solution varies depending on the temperature and humidity, as well as the thickness of the silk or paper. Use the following concentration levels as a guideline, and test the solution under your working conditions, adjusting the concentration according to your materials and desired results.

◾️ Recommended concentration for Eginu silk: 1.5 - 2%

Dilution Calculation for the Pig glue for sizing 20%

Example: If the final volume (ml) has been decided

Example: Preparing 100 ml of a 2% Dosa Solution

・Dilution ratio: 2% ÷ 20% = 0.1 (2% is one-tenth the concentration of 20%.)

・Amount of 20% solution: Final volume 100 ml × 0.1 = 10 g

・Amount of water to add: Final volume 100 ml − 10 g = 90 ml

Reference Chart for Preparing 100 ml of Dosa Solution

Calculation for Pig Skin Glue (Suitable for Dosa/Sizing)

Example: Amount of Glue Needed to Prepare a 1.5% Dosa Solution with 100 ml of Water

100 × 1.5% = 1.5 g (When converting the concentration percentage to a decimal: 1.5% ÷ 100 = 0.015)

5. Applying Dosa Sizing to Silk

Art Materials and Tools Used

・Brush

・Dosa solution (For easier use, pour the solution into a container, such as a bowl, that is large enough for your brush to dip in.)

Brush Characteristics and How to Choose the Right Brush

・Because Eginu silk does not absorb moisture as rapidly as Washi paper, a brush with thin bristles that doesn’t hold too much liquid is well suited for the application. Such a brush holds just the right amount of liquid and makes it easy to spread the solution evenly. Moreover, choosing a brush width that fits the size of the painting surface will also help you work quickly and achieve a clean, even finish.

・As for the bristles, goat hair is soft and absorbent, while nylon bristles are durable and easy to care for. Hope this helps you pick the brush that best suits your preference.

Comparison of Brushes Suitable for Applying Dosa Sizing to Silk Canvas

* Information of available products as of August 2026.

Step-by-Step Dosa Application

1. Dissolving the Dosa Solution

Since the dosa solution is made of animal glue, it solidifies into a jelly when chilled and becomes liquid when warmed. Place the bottle in hot water and double-boil it until the solution has completely melted. Then transfer the amount you need into a clean container, such as a bowl. Allow it to cool to approximately 30°C before use.

* Note: If the solution has solidified back into a jelly state, warm it again in a hot-water bath until it becomes liquid.

2. Application

Apply the dosa solution to the surface of the painting area (the inner part of the wooden frame).

Soak the brush completely with a dosa solution and slowly draw it across the silk from one edge to the other at a consistent speed. Try to avoid visible brush marks, uneven application, or missed areas by applying the solution thoroughly so it is fully absorbed into the silk fibers.

Normally, it is enough to apply only to the front surface. However, please apply the solution to the back side of the silk as well if you wish to paint with the Urazaishiki technique. This helps prevent bleeding on the back and allows for beautiful and controlled translucent effects as intended. 

Work carefully to prevent moisture from coming into contact with the areas of the wooden frame where the silk has been secured with glue paste.

Left: Before applying the dosa solution / Right: After applying the dosa solution

3. Drying

Once the dosa has dried thoroughly, the silk canvas is ready for painting.

If you prefer a stronger resistance to bleeding, adjust the concentration or apply additional coats after the previous coat has fully dried, building up two or three layers based on your needs. 

What to Do When Removing the Silk from the Wooden Frame

After completing the painting, either peel the silk away from the wooden frame or cut it along the inner edge of the frame using a craft knife. 

Handle it carefully when removing the silk. Rolling or folding the fabric too tightly can damage the painting surface and may also cause the pigments or metal leaf to peel away.

6. Learning Through Experience：pigment.mom Workshops

At pigment.mom, we offer a wide variety of hands-on workshops where you can learn the basics of silk painting from artists, from stretching silk to coloring techniques like Urazaishiki.

Through instructor demonstrations and practical exercises, you will gain technical tips and a multi-angled understanding of silk canvas as a painting material.

These workshops are ideal for beginners working with silk for the first time and  those looking for a one-day lesson to refine their self-taught techniques.

*Ura-zaishiki: A traditional technique of applying color from the reverse side of a translucent silk surface.

[Introductory] Preparing Eginu Silk for Painting

In this workshop, you will experience techniques like “stretching silk on a frame” and “applying dosa sizing” by using specific tools. Through instructor lectures and demonstrations, you will gain practical tips for silk painting as well as insights into how silk artworks are preserved for the long term.

After applying dosa sizing which is a primer for a silk, you can take your stretched silk on a frame with you home to use it for your own creation!

Preparing Eginu Silk for Painting（170 min／Plus Lunch Break）

Workshop Overview

Please check our workshop schedules and sign up from here.  Workshop - Japanese Painting

Time　11:10 – 16:00

　11:10 – 12:00（50 min）  Morning Session

　12:00 – 14:00（120 min）Lunch Break　

　14:00 – 16:00（120 min）Afternoon Session

Venue　「pigment.mom」or「G1-1F」

▪️pigment.mom（Opens at 11:00）

Eating inside a store is prohibited. Please enjoy your lunch at restaurants nearby. (Area Map)

▪️G1-1F（Opens at 10:50）

You are welcome to eat and drink inside the workshop room. 

Please refrain from bringing items with strong odors, such as instant noodles (bento boxes and standard packed lunches are completely fine).

There are also restaurants and convenience stores nearby. Please refer to the above “Area Map”. 

Fee: ¥9,900 (tax and materials included)

Age Requirement: Ages 10 and up

*If accompanied by a guardian, please select the complimentary option during registration.

What to Bring: None (a paper bag for the wooden frame will be provided)

*Please note that animal glue is used for sizing applications.  (There are no alternative materials for the same effect.)

Art Materials Used

The silk used in the workshop is Eginu Silk Canvas 2 Chohi Deluxe, which is the most translucent of the three types available. Its translucency directly impacts the appearance of Urazaishiki and Urahaku technique.

To apply dosa sizing, our Thin Gesso Brush, made of easy-to-maintain nylon hair, is convenient, as it offers easy handling on delicate silk and is simple to clean after use.

Time Schedule

11:10 – 12:00   Morning Session (50 mins)

▪️Hands-on Practice: Stretching Silk on a F4- size (333×242mm）Wooden Frame.

Silk is stretched by using a plastic spatula and starch paste. (To allow participants to take their silk canvas  home on the same day, the procedure will differ slightly from the steps described in this article.)

Reference: [Stretching Eginu onto a Wooden Frame]

12:00 – 14:00   Lunch Break (120 mins)
▪️Break / Drying Time

While drying the starch glue, feel free to use this time to shop for art supplies, explore nearby art venues, or simply relax.

For local art event information around Tennoz Isle, please visit the "Tennoz Art Portal Site." [in Japanese]

14:00 – 16:00   Afternoon Session (120 mins)

▪️Hands-on Practice: Applying Dosa Sizing

The instructor will explain the concentration and effects of the dosa sizing solution while preparing it. (Participants will use an already prepared dosa solution.)

Reference: [Steps for Applying Dosa Sizing to Silk]

▪️Lecture & Q&A (During Drying Time)
While waiting for the dosa sizing to dry, the instructor will introduce various painting techniques on silk with reference artworks. Feel free to ask any questions regarding your daily art practice or painting techniques.

Introduction to Eginu Silk Canvas (Porcelain berry)　(120 min)

In this workshop, participants will learn the fundamentals of kenpon saishiki (traditional silk painting), covering the complete process from drawing the preliminary sketch to mixing pigments, coloring, and urazaishiki (back painting).

While experiencing the elegant, vibrant coloration and beautiful translucency that highlight these traditional art materials, even beginners can enjoy the traditional silk painting.

Introduction to Eginu Silk Canvas (Porcelain berry)　(120 min)

Workshop Overview

Date & Reservations:  Workshop - Japanese Painting

Time: 14:00 – 16:00

Fee: ¥8,800 (tax and materials included)

Age Requirement: 10 years and older

*If accompanied by a guardian, please select the optional + Parent / guardian seat ticket.

What to Bring: None (a paper bag will be provided to take your finished artwork home)

* The artwork design will follow the illustration shown on the reservation page.

* Animal glue is used during this workshop. Gum arabic (a tree-resin alternative) is available upon request. Please inform the instructor if you prefer this option.

Click here for Details. 

pigment.mom Workshops (Popular Workshops and Special Events)

Private Workshops (Available for Individuals, Corporates, and Groups)

Private Workshop Information for Corporates and Groups
PRIVATE WORKSHOP
 
pigment.mom
Contact Us - pigment.mom

Reference
National Agriculture and Food Research Organization (NARO)
・Biotechnology Glossary: “Silk Gland”
https://www.naro.go.jp/laboratory/nias/gmo/handbook/app/ka.html (referred on July 24, 2026)
・The Secrets of the Silkworm ～Part 2: New Materials and Emerging Industries～
https://www.naro.go.jp/publicity_report/season/166829.html (referred on July 24, 2026)

TTokyo Cleaning Association 

・Silk: A Material that Inspires Everyone

https://www.tokyo929.or.jp/column/fiber/post_158.php
(referred on July 24, 2026) 

Editor & Writer

Natsuko Shiraishi

Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.

Favorite matière: Paper, dynamic moves of wood fiber

Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.

Favorite matière: Paper, dynamic moves of wood fiber

pigment.mom

PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.

PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.

Translator

Atsumi Okano

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.