These assemblages of Viteri, sometimes emaciated in their solitude reminiscent of the Andean moors, sometimes black and other times red, sometimes full of colorful crowds where the sky barely appears or where a beam of light illuminates a few, to the center, inside a square. Historical through time. 

Viteri's pictorial work unfolds early on, just as a teenager. His academic training in architecture made him receive private classes at the same time with teachers Jan Schreuder and Lloyd Wulf, who arrived in Ecuador in the 50's and opened their workshops for a diverse audience. It is for this reason, in large part, that his early work derives towards abstraction very quickly, taking as reference the contributions of the vanguards that would be of great significance for the new generations of artists in Ecuador at that time. ]

The drawing in ink has been very early one of the richest media for Oswaldo Viteri, especially from his meeting with the Polish artist Maryan, during his stay in Spain in 1969. The neofigurative drawing of enormous expressive load and immediacy will allow the artist to the present to develop a number of images and move between pure abstraction and figuration. His bullfighting inks are well known but the scope of his work in drawing is enormous. [...]

Precisely because of Viteri's multifaceted training, his creations have wandered into various fields of action since early in his career. Perhaps, it is in the architecture where his trajectory has been shorter and less explicit, but his house museum, like other projects that are in scale models are clear reference of his rich spatial language. The stone mosaic murals also pose a conceptual as well as formal challenge for the artist that can be seen in two important instances in his career. [...]