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Although Ecuador proves to be a country of great biodiversity which is brimming with natural wonders, this reality has not enriched the lives of Ecuadorians yet to the desired extent. The current era of globalization, hostile to the survival of traditions and meaningful connections, does not contribute positively as well. In this context, we set out to contribute to the strengthening of the Human-Nature bond through the creation of an emotional and hedonistic aesthetic experience in a contemporary visual art installation. To this end, after experimenting with banana leaves as the base material (exploring its texture, color, scent, and the various mutations obtained through technical manipulation, enhancing the enjoyment of change) a proposal is constructed for interaction with the viewer. This aims to induce their curiosity about the translucent nature of the leaves and the countless possible analogies, leading to the recognition of the present nature, the joy in the arrangement's structure, and the fascination with the expressive capacity of the material under artistically constructed lighting and ambiance conditions. All of this is directed towards an aesthetic experience that involves feeling a part of nature, another element of the installation, not only through sensory interaction but also through the final reflections which have been enhanced for the participant to become a part of the work itself.

The Hip-Hop movement has evolved over the decades in ways that are extremely diverse, encompassing a wide variety of elements such as music, dance, graffiti and fashion. On multiple occasions it has been associated with negative stereotypes that established an erroneous and very limited understanding of what it really implies; since not all people have access to complete information about Hip-Hop. Faced with this problem, it was proposed to capture Hip-Hop Culture in a mural based on its four foundations: breakdance, graffiti, rap and turntablism. In other words, the aim was to disseminate this art through a contemporary visual proposal in order to establish an integrative sociocultural understanding. To this end, a caricature-style mural was created with outdoor painting that consisted of the representation of female and male characters, with representative elements of various urban tribes that converge in Hip-Hop. These elements accentuated the expressiveness of the characters to leave a visual manifesto of what hip-hop is and how it is shaped as an artistic-cultural movement. All this to contribute to the assimilation and positive impact of culture. This aesthetic experience led to the recognition and iconographic identification of selected elements that allude to Hip-Hop, with emphasis on the female artist, in the face of a tradition in which she is frequently omitted; all of this, through beauty, dialogue with the appropriation of community spaces.

In the world of visual arts, a pedagogical investigation is proposed about the teaching-learning process in initial education, to promote knowledge in the new generations that will allow to sensitize artistic events through the perception and use of sensory materials valued by our senses. Through perception and the use of materials with sensory qualities valued through our senses, each material has the quality of generating a specific focus of attention. Through the use of innovative didactic material, created for the use of children from 3 to 5 years of age by learning about certain artists of the national and international pictorial field, we will use the works that are most appropriate for the study of the author, work and technique. In an educational world of constant evolution, we propose an artistic pedagogy guided in a playful and sensorimotor way, in which we will intervene with materials and tools that facilitate access to the creation and learning of art through art. It is necessary to link the knowledge between art and education to contribute to various methods and improve the quality of early childhood education, with a significant experience in life.

The aim of this work is to manipulate and reinterpret through pictorial mediums fragments of commercial breaks from Ecuadorian television, considering the impact they had on my childhood, that is to say, the period from 2004 to 2011. Throughout the research it is observed how advertising transcends individuality and how these images are remembered by a large sector of the Ecuadorian generation of the 2000s. At the same time, the mechanisms that the brain uses when remembering advertising will be explored in depth.The research explores the process that was carried out to ideate and conclude the paintings together with their theoretical foundation and the referents from which they are nourished, with the transfiguration of the common place being a key element for the project.As a result, seven paintings were created based on Ecuadorian commercial cuts by manipulating and transfiguring them to turn them into new metaphors that contribute to the field of contemporary art, allowing a much wider public to approach this sphere and at the same time opening up the discussion about our consumption of images.

This degree work is based on an ecological theme, which aims to review individual knowledge about how we understand this science, in order to explore some areas that have been neglected in the current environmental crisis in which our planet finds itself. The starting point is the influence of plant species that have been destroyed by different circumstances and how they evolved to the native ecosystems of the city and the country. Through the construction of an artistic installation, we involved four species that are common in the surroundings of the city of Cuenca, which are: eucalyptus, pine, walnut and capulí. With the use of their respective seeds, we put together the round sample called Reconstrucción, which depends on four artistic objects and an installation of panels that we call "ecosystems", these are found floating from the ceiling, which contain the seeds of the aforementioned trees. The exhibition aims to expose a silent problem that is emerging in the ecosystems of our region. All this with the purpose of understanding the social meaning of art, since, over time, it has managed to acquire new reasons to manifest itself and has been forced to add its contribution around the different global problems. For this reason, we consider it essential that art in its different manifestations address the ecological helplessness of our society, beyond its decorative and collectible nature.

The declaration of the COVID-19 pandemic by the OMS (World Health Organization) forced the Ecuadorian educational system to take urgent measures to ensure the educational continuity of students of all school systems. For this reason, this project seeks to create a reflective-social space through the creation of a mural in the San Joaquin Educational Unit in the city of Cuenca, in male and female students in the second year of high school ranging between 15 and 16 years of age, the selected sample are 31 young people, who will demonstrate their creativity in the construction, development and presentation of the work. This work is framed in the qualitative paradigm, the methodology based on research-action, which facilitates the participants to get involved in social issues and through this create awareness and catharsis in each of the stages of plastic creation. On the other hand, the techniques to be used are observation and focus group. Thus, this mural proposes to establish a space for reflection in the educational community and allow the observer to create his own map of ideas of what he perceives. In conclusion, mural art has been an important way to address and reflect on the impact of COVID-19 on society. Pandemic-related murals not only inform and educate, but can also be a source of inspiration and hope for people around the world.

This work seeks to recover and disseminate the folk tales of the province of Azuay, with the realization of a prototype of a tale illustrated with the watercolor technique and digitally diagrammed for later printing. This constitutes an artistic contribution for the cultural rescue through illustration as a powerful tool capable of awakening the interest to know and revalue the folktales and thus prevent their disappearance. In the creation of the characters and scenarios the clothing, landscapes and typical and characteristic elements of the province of Azuay are represent, thus achieving to contextualize and revive the essence of the story's narration and evoke the era to which it belongs.

The present project aims to carry out an investigation on non-visual aesthetics, assuming a critical character in the face of the perception of the senses by people with visual disabilities, in all the existing variables of the phenomenon. The intention is to create a project where a focus group can generate proposals resulting from artistic practices that demonstrate aesthetic sensibility in contemporary art.

The present theorical – practical project contains an investigation of contemporary art and relational art based on people who suffer from Alzheimer’s, keeping in mind the objective of inviting the spectator to reflect upon a non-distant reality from others’ unconscious. To make the photographic proposition, we start with therapies, recovery of information with women who are currently in the initial phase, maintenance phase, and final phase of Alzheimer’s. All this done with a specialist from Hogar Miguel de León. The final product consists of six A3 photographs in color, which encloses perspectives denominated as human storages representing their autobiography as a being, a super being, and a mental construction of every human being. The chosen spectrum ranges from mental exercises to colors chosen for remembering emotions, and symbolic interpretation of elements and the concepts that define it.

The present work has as main theme the invisibility of people in street situations and / or with addictions such as alcoholism, approached from an artistic perspective. A series of images based on the homeless of the Canton of Santa Isabel, Azuay province, in Ecuador have been produced. The techniques used in this work are: the portrait, using charcoal, cisco and black smoke on Canson cardboard, with a non-classical technique of portraying; and the spontaneous burning of gunpowder. These two techniques allowed to capture the face of the homeless in an unconventional way, and at the same time, transmit to the viewer the concept of invisibility of those who are victims within the space in which they usually find themselves.

This dissertation project is basing on painting the vulnerable sectors of the city of Santo Domingo de Los Colorados. The paintings are made with experimental materials that somehow are linking to the people who inhabit the place. Then, ink was using of beet, spinach chlorophyll, shoe ink, coffee, and gentian violet.In the first chapter it is basing on a study on vulnerability, marginality, and social exclusion that a small group of individuals within society presents, for this purpose field studies and interviews that were useful for the development of the topic are need. In the second chapter, a study on contemporary painting was carried out; we also talk about the characteristics of the materials used in the painting of the time, and in turn the urban landscapes that are made. Finally, in the third chapter we talk about the development of the work that begins with sketches and a photographic record of the sector, which then serves as a reference for the preparation of the paintings.

The current research - creation project, comes from the desire of proposing a new pictorial technique based on recyclable plastic elements which are called plásdil, that comes from the terms plastic – diluted, beginning with a suitable philosophical analysis about ecology from the environment philosophy, by giving to the nature a rule of law manifested by biocentrism inside of the deep ecology socialized by Arne Naess in the 60s. Followed by the ecosophy that promotes the search of a knowledge to inhabit the planet, by creating inside of the current society an awareness related to the care of our habitat through morality and environmental ethics which is communicated as an essential axis of an ecological education of the XXI century. All of this is related to the creation of artworks from the concepts of art and ecology. Likewise, within the historical - artistic field, we can recover the plastic as a creative material since the beginning of modern art up to the present. The importance of this material for the vanguards which forced artists to continue investigating about the new forms and about the work material, which not only contribute to aesthetic patterns, but those are the starting point for new ecological proposals. It is so, that it is proposed to plásdil (plastic- diluted), as an experimental artistic possibility through recycled plastic that for several years has come developing, and currently it is consolidated through an incineration and dilution meticulous process of plastic material either over wood or canvas, by affirming its function of contributing to the ecology and the current esthetics, by settling down as a new contemporary pictorial technique.

The present title work aims to investigate the elements that characterize the Shuar culture and its current state to settle a problem produced by the processes of acculturation in the province of Morona Santiago, with the result of an installation using the chontacuro worm. Where the individual is more than a collective, it is essential to speak and write to record the current cultural presence, the problems that encompass it and the consequences of a nation, collectives, people without culture. In order to understand the current state of the Shuar and its cultural identity, it is necessary to stop and look at the peoples of the Amazon and it is enough to observe around us in order to have an idea of the problem posed in this work of titling. Art as a means of expression has been a way of generating and removing conscience in the face of social and cultural problems.

Russian Constructivism is defined as an artistic practice that responded to the so-cial and cultural demands of a new society. It was developed as avant-garde movement that proposed a program linking the artwork to life, leaving behind the forms of bourgeois art and opening new possibilities for the functions of art in the social conditions of the Revolution. This work updating this legacy is proposed, by ironic appropriations of some of its products, in relation to the representations of heroism and triumphalism, the hero and the masses, political and cultural pro-cesses today. To the extent that this kind of language has been used in other contexts, and the Constructivists formulas overflow their original enclave in other geopolitical coor-dinates, this project seeks to take advantage of ideological and aesthetic formula-tions were sustenance of constructivist proposals and productivists about the ex-perimentations photomontage, the faktura and factography.

In this thesis, the social context of contemporary artistic production Ecuador is analyzed through studies of global, national and Latin American aesthetic references, and the production of contemporary art from several Ecuadorian artists who participated in the Bienal de Cuenca and Sala Proceso from 2005 through 2012. Sociological study of facts and important events in the history and artistic partner of Ecuador is made today. A historical approach to the sociology of art, public space, community and collective memory arises. As a result of the investigation there was a book called Lluvia installative to achieve financing and staging a cultural management strategy, involving public and private institutions in the city of Cuenca was handled.

This research, pretend to make visible the pictorial and sculpture art circuits in Guayaquil, studying the structure of its system, the identifications of its actors, its art visions, the interdependencies that link them and the environment influence, under an ecosystemic perspective, during the time period from October 2012 to September 2013.This study does not intent to be neither artist nor art inventory, but a first exploration of the complex issue of art consume.

From the beginning of the essence of man and the beginning of the new millennium , with a globalized and more concerned about the economy and gather large fortunes (money , technology , objects) , relying on technological development, the man, a being lost in the speed and in the wrong time, stress for the city, indiference about things that he life need for, the Globalization established paradigms about socialite, cultural , psychological , political and economic greatly , mark the current emotional state of the contemporary man, the idea of expansion with reference to information in the process causes emotional effects today, both in the manner and everyday lifestyle of people. The current situation demands of contemporary man is away from the world of illusion and fantasy of magical worlds of those wonderful beings , those beings who give hope and enjoy an innocent imagination. This search is identifies me in performing magical worlds as safety valves to contemporary men , where the personality , life and the atmosphere created in the unconscious memory of the public need to have a change and other perspective about the life and the actual situation.