Born in Buenos Aires in 1957, Eugenio Cuttica belongs to a generation of artists who occupy the liminal space between tradition and the contemporary. For over three decades, he has developed a body of work that is both expansive and intimate—rooted in painting but charged with a metaphysical depth that resists categorization. His practice, guided by what he terms the infinite frequency of no time dimension, orbits a state of deep attention, quiet resonance, and spiritual inquiry.
Cuttica’s work does not shout; it emanates. Describing beauty not as an intellectual construct but as a living presence, he paints as a form of listening—believing the artist to be a foreigner, a vehicle through which energy flows. The figures that populate his canvases, most notably the recurring image of Luna, a girl elevated on a chair, seem to occupy both the world we know and an invisible plane just beyond perception. “The chair is an altar,” he explains. “The girl is higher.”
His studio rituals are steeped in silence. Often waking at three in the morning, he receives fully formed visions for paintings—“resolved,” as he puts it—then returns to sleep. In the morning, he brings them into being. This process, equal parts invocation and craftsmanship, has led him to become what he calls a “seismograph of natural energy.”
Philosophy, especially Eastern thought, remains central to his process. He writes surrealist poems and essays, reads voraciously, and teaches by example. Now surrounded by younger artists who seek him out for guidance, he remains dedicated to a life of practice, not performance.
In conversation, Cuttica speaks of art as a mirror, a tool for liberation, a healing force that transcends politics and culture. “ART,” he says, “is love, truth, freedom, and beauty.” Museums, which he calls “the great cathedrals,” are his chosen sanctuaries. There, he visits his exhibitions daily, speaking to visitors not as spectators, but as kin.
“The art of mastery is a weapon,” he often says. In his hands, it’s a quiet one—powerful not in volume, but in vibration.
Interview
Artist: Eugenio Cuttica
Where do you find your greatest inspiration?
I am very attracted to the spiritual union of art and philosophy—Eastern philosophy has been my greatest source of inspiration. I like to read, I study constantly, and I like to write essays and surrealist poems. I feel that painting is another language.
For me, art is a tool to reach the ”creator.” My main motivation is to remain in that dimension that I call ”the sublime frequency, not time”. A mental state that is reached through art or meditation—a silent mental state of energetic emptiness and of connection with the divine—with which we are all born as human beings.
How has your artistic practice evolved over the years?
I remember drawing at the age of eight and the exact moment when I promised myself to be an artist, no matter what. Playing alone, in a state like ”nirvana”; I felt a certain excess of concentration on what I was doing, to the point that a barrier was diluted. I didn’t realize if I was the clay or if the clay was me.
From an early age, I began to train my hand to draw in a methodical and systematic way; I studied, worked, and drew at least six hours a day every day. That was my training in what I considered becoming a ”master artist” achieving a certain completeness.
At this point in my life when most people get depressed and are left alone, I am still working, surrounded by young artists who visit me and consult me. Maybe, the moment of happiness, and what one said to himself as a child, has finally fulfilled it.
Tell us about the girl Luna, who has been present in your works for the last 20 years. Who is she and what does she represent?
Twenty years ago I started painting a girl standing on a chair—it arose spontaneously. I was taking pictures of a friend’s daughter and I told her to get on the chair and look towards the horizon. The chair is an instrument of the power of knowledge. Students acquire knowledge sitting down, relaxed and alert, in order to incorporate the new. The chair is an altar; the girl is higher.
What elements do you take into account while creating?
The element that I take into account when creating is to be attentive. Artists are like antennas that can capture a certain magnetism of the intelligence of the universe. They carry that cosmological magnetism to the earth and have the power to magnetize others.
Every night I wake up spontaneously at three in the morning. At that moment, the ideas of the paintings start to appear, and I write down their descriptions since they come down fully resolved. Then I continue sleeping and in the morning I go to the studio and create them. Paying attention to this is very productive because the artist becomes a kind of seismograph of a natural energy. As Borges said ” …an intellectual can improve a page of literature but can never make a page of literature.” The paintings will be made according to this sacred connection.
What message underlies your painting?
The main message in my work is the transformative power of art, which allows people to enter a dimension linked to love, truth, freedom and beauty. Those four words form a fifth that is ART, as a tool to reach God, who is the artist, the magician, someone who has the power to change his reality and the reality of those around him, like a reflection of light, benevolence that also carries a healing power. It frees us from psychosomatic diseases, from tensions and conflicts of mental origin, cleaning mental noise, accepting silence and the energetic emptiness. We can achieve peace and therefore physical health. Painting is creating a mirror for oneself and others.
What is the key to success on a personal and professional level?
Art carries a power that is above all circumstantial powers. Art has the power to cross all differences of age, culture, nationality, political ideas, education, etc. Art is a universal language that goes through all circumstances, it achieves a communicative vertigo that is unmatched, impossible to achieve with marketing policies. I believe in this power, when it is done giving and forgetting about one and for others. The secret of validity is to throw yourself into that without hesitation, without measuring the consequences. If you work like this, recognition inevitably comes.
Your artistic career inspires future generations of artists. What advice would you give to a young artist following in your steps?
Look for the poetic and read philosophy. Recognition will arrive, the flow of infinite frequency in every sense will arrive, the gods will be watching you, and the universe will be in charge of conspiring so that you achieve your dreams.
What else do you want to accomplish in your career?
At this stage of my career I only want to exhibit in museums. Museums are for me the great cathedrals and the great temples. Exhibiting in those buildings is a celebration that lasts two or three months. I visit my exhibits everyday they are open to make contact with people because they are very special to me. They make me feel that they are family and I love talking with them.
Favorite phrase:
The art of mastery is a weapon.
Editor: Kristen Evangelista
