reviews

"My personal opinion is that in the complex and not sufficiently well-known panorama of the contemporary Ecuadorian painting, Oswaldo Viteri constitutes in union of the old ones Rendón and Crespo and of the artists in full maturity, Tábara and Guayasamín, the maximum quintet of the ecuadorian plastic current. It is also more original and varied than any of the other four. In several trips to Ecuador I have had the opportunity to study his work carefully and I have written often about it and I have presented some of his exhibitions in Ibero-America and in Europe. He perfectly masters his craft and there is in everything that makes a perfectly suitable match between procedure, invoice, rhythm and image. Precisely, the looseness of his rhythms, not necessarily linear and his eurythmy, constitute one of the most important compositional and expressive elements in Viteri's work as a painter, sculptor and sculptor. Each stage of it arises without solution of continuity from the previous one, which proves the coherence of its evolution. Once the problem is solved, he abandons it and proposes a new one, but without abandoning those in which there is still an open road. In its most famous stage (which incorporates popular dolls in very emotional agglomerations to the painted base of his paintings) there is an unprecedented synthesis between the heritage of American popular art of the viceregal times (especially the seventeenth century) and the more advanced abstract painting of concretist inspiration. The quality of its execution is comparable to that of the great masters of the matter of the Tapies or Fautrier type, but with less density and less gestural elements ".

Carlos Arean

Full Member of the Association of Art Critics "

Former Director - Founder of the Contemporary Art Museum of Madrid, Spain 1981