The actions of painting and living are inseparable for Isabelle Venet. She always paints and this rage of painter leads her to the humble and demanding practice of the reproduction. From Breughel to Van Gogh, passing through the Italy and surely through the Pitty Palace of Florence. This takes her to the tarpaulin art, shared with her sister. Because Isabelle Venet first worked on African “Boubou”, creating models, working tissue, consulting the essential literature and iconography. She is immersed by Africa, and we recognize it in this painting of-the-moment, wherein we find superposition, coloring patchwork and basic signs. In this way, we all agree about the rupestrian characters of those signs which announce the handwriting, not in the actual fashion spirit of calligraphy, but through the research of primitive emotions. These ones that must have been felt by the explorers who discovered the rock painting of Tibesti or, more humbly, that we can feel crossing the Valley of Marvels. Therefore, it is a sensorial painting where landscape traces, evocative substances as sand, warm and muddy shades reminding naturals dye, blues referring to the Moresque memory of the desert are blend together. About the global approach, it is not conceptual, but as a matrix movement, it is the act of painting which creates the intention and not the opposite, which explains, in part, a density, almost a plethora of signals and matters. She has a method, she follows determinates rhythms. Because the artist starts again and again, until obtaining, not an expected result, waited, but an emotion desired and exposed.