Salutations!
Okay, I've read through some of your posts and I've got some feedback for you!
To start, writing in the First Person POV is difficult. In Third Person Omniscient you can cover so many details, and in First you've only the perspective of Art, and he has palpable feelings and anxieties I think you represent well. One of the hitches that I've run into is your use of -s versus -ed. Now, I know I hand this bit of advice out a lot but, -s has a tenancy to throw you into Passive Voice and create distance between the reader and the action. Now, that's not to say it's impossible to use -s versus -ed, but it's pitfalls are that it's incredibly difficult to keep the action in the now with the reader. You also have adverbs that take the action further away from the reader (-ly words) and so we've hit a bit of a double whammy here. I actually have an example from your text to show you where some of your active moments become passive:
Original: Art's quarters are larger than Olive's spare room, and very finely furnished. The two windows, barely above the ground outside, are covered with thick curtains, much like the ones in Jean's office. His bed is carved from dark red cherry wood with a matching vanity, floating shelves, and desk. The floors are hard, wooden, but like much of the house he has seen so far, is complimented by a Persian rug.
Edited: Art's quarters are larger than Olive's spare room, furnished with thick curtains, much like the ones in Jean's office; his bed carved from dark red cherry wood accompanied by a matching vanity, floating shelves, and desk. The hard wood floors complimented by a Persian rug.
So, words here that put me further from the action: Are, is, and, with, and this sentence: "but like much of the house he has seen so far." The reason for this, is that are, is, and with, act as buffer words, or extra words, much like -ly words tend to be. (Notice, you can usually take an -ly word out of a sentence and it'll still function just fine, or you could rework a sentence to include an -ed equivalent and it comes out smoother). Now, this isn't always the case, so you don't have to drive yourself crazy looking for every use of these words, however, just know that sometimes they kick your audience out of the action with Art.
In regards to the sentence about the rug: We've spent a lot of time describing the house, (as you're establishing the house as a character, so in this case I actually think your descriptions of the house are good, because the house will be a participant in this story as well) so we know that there are Persian rugs abound in the rest of the house as well, so when you mention the rug again, it just feels like an extra sentence establishing an already established tidbit of information, as if you're reminding your audience to notice these details. Now, that's not to say that you are doing that on purpose (because, we've ALL done this, I do it, and then I realize I've just reiterated a detail and I smack myself. Hah) but I just wanted to give you a heads up that, as a reader, it distracted me because I'd already absorbed this detail.
Now, you've got a beautiful repertoire of words that you use to great affect. You can really paint a scene so, by no means think that I can't tell what's going on because, you've got that totally handled. I will give you a heads up that sometimes, however, the details become list-like instead of narrative like. I'll make another example:
Original: He's dressed in expensive dress pants, the matching blue jacket hanging from the back of his chair rather than from his shoulders. On top he wears a plain white button-up, sleeves rolled up to his elbows, no tie in sight. Only a small sliver is visible where the bottom of the desk doesn't touch the floor, and Art sees a flash of shined shoes as his employer crosses his legs.
Edited: Attired in expensive dress pants his matching blue jacket hung off the back of his chair. He sat casual in his plain white button-up, sleeves rolled to his elbows, no tie in sight. A small sliver of space visible where the bottom of the desk didn't touch the floor, Art swore he caught a flash of shined shoes as his employer crossed his legs.
In the first instance, I felt like I was receiving a list, rather than also being involved with Art's perception at the same time. (Which, here's a guy from the mail room being handed a completely different kind of job standing in front of a man who can afford to be casual and yet still imposing, so involving verbs to explore that can really make your descriptions pop) When I edited this I added words like "swore" and "casual" while deleting extra words and using other verb tenses so that it doesn't feel like a list, but a moment. That's not to say the original is horrible or something, this is just an example as how a few tweaks can take a narrative further. Now, I did bold "Dress" and "dressed" and that's because both being used right next to each other took me out of the narrative. This doesn't always happen, however in this case one was his 'dress pants' and the other was how he'd been 'dressed' and using the same descriptor back to back can gum up your narrative. Granted, you don't have to go thesaurus crazy, it's just a matter of maybe using a different word or restructuring a sentence.
Just be aware that the tense your writing in has a tendency to kick the narrative into 'telling' rather than 'showing' if you're not careful, and can lead to the 'list' problem by its nature. (This tense is something that I've used to write scripts where I had to get details off in short hand so the next guy could understand the scene without too much description, but just enough to give him the general idea. So I more often see the use of -s in stage directions or screenplays) All that being said, I don't think you have to route your writing style or change it all over to -ed, so much as just be aware that this particular style has these tendencies and that other verb usage can often solve the issues.
Speaking of verbs, you're hovering around the Purple Prose department. Now, I do know that the immaculate nature of your character is important because it's very much part of the identity of your story, so I don't think you need to gut your descriptions, however there are a few things I'd like to point out as being distracting to a reader. Case in point, this was the first one that really got me:
"and her blouse is the color of angry clouds."
AKA: Gray. This description distracted me. I know that you were trying to get across their relationship by calling her attire 'angry' and 'gray' however, her demeanor already spoke to her feelings, so to describe her clothes as 'the color of angry clouds' rather than saying something like 'steel gray', or 'cold gray', 'warm gray', etc. was distracting. Some things don't need to have extra description of this kind, because you already did a good job establishing the overall mood and so this kind of description distracted from what was already well done. I will actually share this little article with you, it's sort of a guide on how to spot when you've gone too purple and need to reign it back in. (Being that I've been hella guilty of this in the past, I always try to share these kinds of resources where needed.)
That doesn't mean you can't have descriptions that are beautiful, it's just a means of tightening up your narrative and not over describing certain details. Most of your novel at this point consists of describing the clothing and surroundings (which, seeing as how these things will act as characters of their own that in other ways, describe Jean, this isn't bad. You're really establishing who he is with these bits, so I'm on board for it) so you just want to make sure that the descriptions don't drag, because with your particular kind of novel, these things will inevitably be important and establish soft details we'll count on all the way through as our cues. If the readers start getting distracted with the prose, they'll miss the key things you're layering in.
Phew jeeze, sorry about the veritable novel! I'll be blunt here, I think you've got hella chops. You really do, your command of language and interesting nuances are all there and really, all you need to do is look out for some small factors when you edit. I mean, my own narrative right now is gutted and lacks in the description department (because I know I'm going to have to go back and add some panache lol), so you're starting on the other end from me, you've got serious panache, you just have to play with the verbs a bit. To that end, and to help you out with some of the small things, I will give to you my favorite tool: Editminion! It's a great help for catching small stuff that you might miss as you edit, weak words, unnecessary adverbs, etc. (I love this little guy).
I hope that my feedback is helpful to you when you go through your editing phases. I think you've really got the stuff it takes to make this novel shine so, kudos! If you made it to the end of this thing, congrats, your patience knows no bounds. Also, fair is fair. My novel is a damned wreck right now, but you're welcome to watch my overturned train carcass as it smolders, awaiting some serious edits lol:
Cheers!