There are artists who paint the visible, and others who attempt to reveal what cannot be seen. Eugenio Cuttica belongs to the latter. His work moves in that subtle territory where art and philosophy converge, where silence becomes the true medium and beauty, a path toward understanding.
Across decades of creation, Cuttica has explored the spiritual dimension of painting as a form of consciousness. His canvases breathe with metaphysical light—inhabited by the recurring presence of a girl, Luna, a figure that seems to hold the memory of innocence and transcendence. For him, art is not an act of representation but of revelation, a way of reconnecting with the “sublime frequency,” that silent vibration linking the human with the divine.
In this conversation, Cuttica reflects on the discipline of a lifetime, the invisible magnetism that guides creation, and the transformative power of art as a bridge toward truth, love, freedom, and beauty. Speaking with the clarity of someone who has devoted his life to that search, he reminds us that painting, at its deepest level, is a mirror—one that not only reflects who we are, but what we could become.
An Interview with Eugenio Cuttica
By Carol Real
Art and philosophy seem inseparable in your work. Where do you find your deepest source of 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 would you describe the evolution of your artistic practice from those first drawings as a child to the work you create today?
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.
The figure of the girl, Luna, has been a constant presence in your work for two decades. Who is she, and what does she represent in your artistic universe?
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.
Your creative process seems deeply intuitive, almost ritualistic. What happens internally when you begin to create, and what do you pay attention to most?
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.
Much of your work reflects a metaphysical search. What message do you hope the viewer takes from your paintings?
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.
You often speak about art as a universal force that transcends time and circumstance. What, for you, is the true key to artistic success and longevity?
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.
You’ve inspired a new generation of artists who look to you for guidance. What advice would you offer them?
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.
At this stage in your career, what remains for you to explore or accomplish?
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.
Do you have a phrase or idea that you carry as a kind of personal mantra?
The art of mastery is a weapon.
Editor: Kristen Evangelista
