Elizabeth Cueto was born in Byenos Aires, where she studied Fine Arts degree in the Prilidiano Pueyrredón School. This Argentinian visual artist, while his formation she took lessons in different painting workshops. She always was interested in the drawing. She assisted one of the workshops with Néstor Berllés, Plastic Artist and techer in Argentina, source of inspiration of this emerging artist.
When did you start internalizing in art?
I studied arts in the Fine Arts school in Buenos Aires. Before that, I took painting lessons in Néstor Berllés workshop, where I learned so much plastically speaking, but above all in terms of what is essential in art. He was my mentor…
What implements do you use in your pieces?
I use everything: Acrylics, watercolors, greasy pastels, oil, different kinds of papers, varnishes, etcetera. I like researching and exploring what each material gives.
What are the techniques that you use the most in your pieces?
At this moment I’m painting with watercolor because it allows me to transport it easily than other materials to different places. Anyways, I keep engraving and painting.
How would you describe your creative processes?
In this watercolor series that I am working now, the creative process arose first from the naturalistic look of different authors. Then the contemplative exercise of nature, like a way to get back to origin, to essential, to the sensitive truth and the private knowledge.
That’s why I quote: “The soul feels terrified and trembling to the sight of what is beautiful because it feels that evoke in itself something that it has not acquired through senses, but it always had been there inside an unconscious deep region” (Fedro, Platón).
What are the referents and influences in your art?
Bacon, Basquiat and Pollock.
What do you want to express and communicate with your art?
I’m looking for making disconnection of the human being with the nature’s cycles obvious, with the way of inhabit spaces, the shortage of conversation between the environment and materiality. The lack of sensitivity in this aspect in the contemporary society.
What is your aim as an artist?
My aim is to have an honorable piece, that speaks about life and death, about its cycles, about the human condition. In Naturaleza Humana next sample, I’m going to use different symbols, for example “the cactus”, because of its ambivalent interpretation.
On the one side, it stands for the advance of desertification that suffers our country from north to south because different factors of human action, but at the same time emphasized by its strength and capacity to survive despite of the environment’s hostility. Thus, I try to express the implicit duality in everything…
Are you working in a new project at this moment?
Yes, I am working in Naturaleza Humana. A collective exposition that we will mount in one of the sacred places in Santiago, the Colonial Museum of San Francisco, together with Carolina Mena and Gonzalo Urrea. We chose that place because its historical value that dates back to seventeenth century, and because the view of Saint Francis of Assisi concerning nature.
What are your future prospects as an artist?
They are to keep exploring in the production of materials and pictorial processes that involve an historic investigation…