Viteri’s artistic production began in the nineteen seventies when she focused on the popular, every day, ironic, and satirical aspects of human reality. The search for a personal aesthetic, motivated by her perception of the world, was a recurrent theme in these years. Her introduction of the techniques of engraving in the Panama university made it possible for her to train new generations of graphic artists and to take the initiative in innovative events such as the establishing of another engraving workshop in the Panamanian Institute of Art. Towards the end of the seventies, she exhibited at the Biennial of Graphic Art of Puerto Rico in 1979. In 1980, Viteri presented the project Once Grabados (Eleven Engravings) which brought together renowned Panamanian artists of the time. She then began directing the engravings department at Ediciones Panarte, published by the Panamanian institute. In 1982, she traveled to Cuba to study lithography at the Experimental Graphic Workshop in Havana and a year later, in 1983, she traveled to Spain to specialize in lithography at Blau, then returned to Panama and presented his work Espacios pictoricos (Pictorial Spaces), considered the first artistic installation in the country. A year later, she traveled to Colombia to participate in the Engraving Club in the city of Cali and in the Popayan Religious Music Festival. An important honor in her career was the National Prize for Painting at the XXX Colombian Artists’ Salon in 1986. In the early nineteen nineties, she suspended graphic work in engraving due to health problems. Five years later, she renewed her artistic approach, focusing on nature. Another five years later, in 2000, she began concentrating on digitalized photography.
- Tiempo, memoria y vida. Aproximación a la obra de Alicia Viteri https://villegaseditores.com/alicia-viteri-memoria-digital-tiempo-memoria-y-vida-aproximacion-a-la-obra-de-alicia-viteri#titulo