During her undergraduate studies at the Universidad Nacional Experimental de las Artes in Venezuela, Eva Agüero honed her skills as a painter. Her artwork was characterized by abstraction and a sense of atmosphere. She prepared her own oils using pigments and binders.
Only a handful of those artworks remain today. In 2021, merely a day before Agüero was to fly to the United States, her parents’ residence in Caracas was engulfed in flames. Many books, photographs, and canvases were destroyed. Additionally, the COVID-19 pandemic further limited her artistic practice, which had slowly transitioned to sculpting.
“I was eager to continue creating, but my living space was quite cramped,” Agüero reminisced. She started going for extended walks outdoors and filmed brief videos. Once back home, she played around with editing software. “It served as a creative outlet. I uncovered a sense of freedom within that digital realm.”
This May, Agüero is poised to receive a master of fine arts degree in visual art from the Sam Fox School of Design & Visual Arts at WashU. She will also unveil a new multimedia collection at WashU’s Mildred Lane Kemper Art Museum, as part of “Slow Gardens,” the 2025 MFA thesis exhibition.
You were raised in an artistic family. How has that influenced your perspective?
My mother is an art educator. She had a studio at home, filled with numerous materials and an abundance of art books. As the youngest of four, we often accompanied her to class, museums, or gallery openings. Art was a constant presence in our lives.
Additionally, my great aunt — Reina Herrera, my grandfather’s sister — was a renowned ceramic artist. She owned a large ceramics studio, and we frequently visited her, enjoying all her intriguing stories.
So yes, I think I have always viewed the world through an artistic lens. Becoming an artist felt like a path that resonated deeply with my childhood aspirations. I yearned to create. I wanted creativity to infuse my everyday existence.
Your latest works engage with a 19th-century etiquette guide authored by Venezuelan diplomat Manuel Antonio Carreño. What is the relevance of that book?
Carreño hailed from the upper class. Following Venezuela’s liberation, his aim was to maintain his social standing and authority. And he succeeded. Concepts of etiquette, education, dining manners, and specific speech tones evolved into symbols of status.
‘Manual de Urbanidad y Buenas Costumbres’ (1853) remains a strong presence in people’s consciousness. I encountered it during elementary school. It’s associated with aspirational qualities of being a cultured individual, with many ideas tied to women and domestic roles. In contemporary times, we recognize that women are not inherently linked to domestic duties, yet an unconscious bias persists.
I intended to explore the notion that such beliefs might be constructed fictions. We’ve collectively deemed one path as the right one — but why not consider alternatives? What does it truly entail to be educated? How do societal structures transform? Why do we accept these norms, or reject them?
What does leadership in the arts signify for you?
For me, leadership in the arts revolves around the influence and inspiration we can provide to others, as well as how we draw inspiration from them.
My mother, my great aunt … Their influences have left a significant mark on my journey. Other individuals have also inspired me. That, I suppose, illustrates the essence of inspiration. Numerous individuals who inspired me may not realize the extent of their influence. Yet, that is one of the hopes each time you showcase your work. Perhaps there’s another individual grappling with similar questions as I am.
Many individuals have done or said things that have encouraged me to persist. Many have made me feel a sense of belonging — that I have something valuable to share.
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