In Paris, Elisabeth enrolled at Ecole Nationale Supérieure des Beaux Arts in 1974 where she was admitted to the studio of Gustave Singier. For three years she studied art history, painting techniques, mosaic, fresco, anatomy, drawing, rudiments of architecture and more, and in 1977 she received a diploma in her specialty, painting.
"I have known and enjoyed her work for 16 years and watched her grow. She is now I think one of the most sensitive and scrupulous modern painters I have seen: uncompromising and utterly without trendy flash."
Guin, Professor, Shakespearean scholar
Department of English
Université York, Toronto, Canada
"I'll be receiving credit toward my French major at school for participation in the 'Enchanted June' workshop
. One of my life's dreams has been to go to Europe. I wouldn't have made it without you. I'm so grateful to you both. It seems as if a great impasse has been crossed, and now I know I can come back again and again, no big deal. I know you both worked very hard to put the trip together, and it was 'incroyable.' I am so glad I participated. My French is so much better -- my artwork is so much better -- I loved being with Elisabeth and her family
. The French people were great to me and I saw unbelievable sights."
Dawn Maloney, University of Akron (Ohio), June 2001
"The choice of Cordes as a destination, Elisabeth as a teacher, all of the ideas for excursions were wonderful. It was clear that you two did your research in those areas. "
Signed by representatives from Florida International University (a botanist), Maine College of Art (an art teacher), Youngstown State University (a sculptor), and students from Goddard College and Alfred University, June 2001
"The dialogue Elisabeth
Loiret has more than deserved our gratitude. Its capacity to awaken, in our contemplative spirit, the crowd of secret and forgotten inhabitants of our deepest self, who strain for at least a few moments in the light of day, has attained a remarkable level. Abstraction, that modern and tyrannical queen, has here lost her usual inhumanity."
Paul Vires, translated from La Revue du Tarn,
no. 180,Winter, 2000
(taken from Elisabeth's notes on material considerations)
I paint on diverse supports
canvas, paper, terra-cotta, textiles, cardboard, wood
I paint with equally diverse media
acrylic, pastel, watercolor, ink, pencils, walnut stain
I sometimes use collage
of paper, fabric, organic materials
The formats of my work vary from the very small to the very large. Each format implies a different surface treatment. A different solution that must be found. The monumental; grandeur and greatness and largeness do not depend on format. The experience of moving from one format to another.
Finally, the tools used also vary
brushes, objects that scratch, tear, scrape
knives, hands, cloths, absorbent paper
string, wire netting, corrugated cardboard, woodcut stamps, etc.
And, of course, technique
solutions, glazes, impasto, sanding, ripping, collage.
Recurring use of invented script, used as a graphic element.