Artes Visuales-Pregrado

Permanent URI for this collectionhttps://dspace-test.ucuenca.edu.ec/handle/123456789/309

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Creaciones pictóricas de los siete pecados capitales basados en la iconografía de la Escuela Quiteña presente en las colecciones de arte sacro en Cuenca
(Universidad de Cuenca. Facultad de Artes, 2025-10-27) Cedillo Cedillo, María Augusta; Calle Bustos, Víctor Geovanny
The artistic proposal comes up after the question: Are there pictorial records of the seven deadly sins from the Quito school at the collections of sacred art in Cuenca (Ecuador)? The answer is yes, however there are few records, such as the case of the work that is currently in the church of San Agustín, the same that occupied the current site of the convent of San Alfonso, for this reason; the following degree project proposes to make digital illustrations based on the seven deadly sins mentioned in the first teachings of Christianity and Catholicism, under the iconographic influence of the Quito school.
Patrimonio vivo: retratos artísticos en paja toquilla como herramienta de preservación cultural en Gualaceo
(Universidad de Cuenca. Facultad de Artes, 2025-10-22) Ramón Cambizaca, Christian Manuel; Calle Bustos, Víctor Geovanny
The visual study of narratives in rural communities in the canton of Gualaceo reveals a reality marked by vulnerability and isolation that deeply affects its inhabitants. Graphic representations highlight the persistent presence of poverty, lack of essential services and social marginalization in the daily lives of these populations. The illustrations capture the complexity of these communities' experiences, evidencing the constant struggle to survive in an environment characterized by scarce resources and opportunities. Challenges such as lack of adequate housing, obstacles to accessing education and health care, as well as extensive job scarcity and very poor working conditions in agriculture are highlighted, as this should not be detrimental to them as it is their main source of income. At the same time, the visual narratives highlight the social exclusion faced by a certain group of people, such as the elderly, women and children, who lack the support and opportunities for their integral development. However, all these illustrations also reflect the resilience and strength of these communities to face daily challenges, highlighting the sense of community, solidarity and creativity as fundamental resources to find collective solutions to their problems.
El dibujo como herramienta de introspección visual para el reconocimiento del poder personal y las dinámicas que lo condicionan
(Universidad de Cuenca. Facultad de Artes, 2025-10-20) Morocho Morocho, Mateo Damián; Crespo Fajardo, José Luis
This research-creation thesis explores power as a network of relationships that crosses individual and collective identity, approaching art not only as an aesthetic expression, but also as a human behavior of resistance and transformation. Using drawing as an introspective tool, it analyzes how visible and invisible structures shape our perceptions and decisions, limiting or enhancing personal sovereignty. The study is based on theoretical references such as Foucault, Rancière and Byung-Chul Han, who provide a critical view on power, perception and the construction of subjectivity. From this framework, a series of works are developed that investigate the relationship between oppression, resistance and emancipation, using composition and symbolism as resources to generate questions in the viewer. The process culminates with the group exhibition “We, the sovereigns”, curated by the author himself, as an act of affirmation and artistic autonomy. This exhibition not only exhibits the plastic result of the research, but also functions as a space for critical reflection on art and its capacity to generate new ways of inhabiting and understanding ourselves. In conclusion, the thesis proposes that art is an exercise of sovereignty and resistance, an act that transcends external validation to become an action that transforms individual and collective reality.
Propuesta artística para la reivindicación cultural de Manuelita Sáenz desde una perspectiva icónica del feminismo
(Universidad de Cuenca, 2025-09-30) García Ríos, Karen Estrella; Guzmán Galarza, Manuel Geovanni
Since the beginning of history, the differences and relationships between men and women have been the subject of debate and controversy over the years. The existence of two sexes has created divisions in society, a society that fights for equal rights. In 1797, Manuela Sáenz de Vergara y Aizpuru was born in Quito, a woman with a vision very advanced for her time, whose actions changed the perception of women in the 19th century. At that time, women were destined for tasks such as making uniforms and flags, accompanying the troops, cooking, being nurses, and in the worst cases, prostitution. Manuela Sáenz was known as the Liberator of the Liberator for her heroism; He confronted enemies and refused to accept the new constitution.
Propuesta artística, mediante la creación de obra plástica, para generar empatía en la ciudadanía azogueña
(Universidad de Cuenca, 2025-09-24) Mora Morquecho, John Jairo; Moya Méndez, Misael
In an international and local context, that recognizes the need to strengthen local cultural identities, particularly within the complex and rich plurinational reality of Ecuador, and in light of the challenges posed by Covid-19 pandemic, the research-creation problem addressed in this study is: How to produce a visual art work that enhances empathy and cultural identity among the people of Azogues, inspired by a classic artwork that resonates with their traditions and art history? The result is a triptych visual art piece titled “El jardín azogueño” (The Azogues Garden), inspired by El Bosco’s iconic work “The Garden of Earthly Delights”. The selection of this artwork is based on its high iconic value, appeal, and relevance to local tastes, “El jardín azogueño” combines myth, tradition, and local characters in an aesthetic symbiosis of symbolic content, with a view towards creating a visually impactful work that generates empathy in viewers and facilitates identification with the local identity elements. The elements are displayed with a diversity of expressive aspects, while acknowledging the religious aspects that are inherent to the Azoguean idiosyncrasy. The work is accompanied by an analysis that demonstrates how both its thematic and morphological-expressive aspects are a response to the research-creation problem posed, and represent a significant artistic contribution to the town of Azogues, the capital of the province of Cañar in Ecuador.
Re-existencias: Residencia Artística en Colaboración con Guardianas de Saberes Ancestrales en Azuay
(Universidad de Cuenca, 2025-07-22) Guamán Chocho, Erika Catalina; Amoroso Peralta, Silvana Mireya
This degree project proposes the creation of an artistic residency; based on the analysis of theoretical studies that contribute to the reflection on decoloniality, re-existences and collaborative and intercultural artistic practices, with the intention of promoting the production of visual poetics in co-authorship of women healers and emerging artists. The artistic residency format was developed in a hybrid way; that is, in the territory the resident artists had the opportunity to coexist with the women healers in their communities and workplaces, and through virtual sessions they dialogued and received suggestions from recognized cultural actors with long and medium trajectory in community management processes and collaborative artistic practices. After the residency, the artists continued visiting the women healers to build together, visual poetics that dialogue about their context, based on participatory action methodologies. Finally, an exhibition of the results of the process was organized in conjunction with an intercultural knowledge fair with the Jatari Warmi Association, in the Archaeological and Ethnobotanical Park of the Pumapungo Museum.
Potenciación artística del garabato para una renovación estética visual, y narración ilustrativa del proceso creativo
(Universidad de Cuenca, 2025-07-15) Giraldo Vaca, Alanath; Washco Castro, Adrián Efrén
The cultural activity of the 21st century has reduced the importance of analog creative and expressive practices, in the face of the overwhelming advance of digital. More and more resources and techniques are being abandoned that for centuries, and even millennia, provided the richness of historical visual expressions. In this context, we proposed to artistically enhance the resource and technical elaboration of the doodle, in the production of visual works of renewed aesthetics, and to narrate the process with illustrative-referential purposes. Thus, the work La Creación develops a contemporary visual proposal that represents the transition through the evolutionary stages of children's drawing. In the same composition in chalk/crayons on wood, first a looser drawing is developed, with random strokes, in which the movement of the body, the gestural component, takes precedence, and in which the shapes and figures are executed more spontaneously. . that by any intention or project; then strokes are used with slightly significant intentions that do not reach the figurative condition; Later, geometrizing figures are generated with discreet representational intention, to finally reflect figurative processes, but always within the dynamics of the doodle as a creative resource. The resulting aesthetic experience is, at once expressionistic, deeply enlivening and stimulating.
Uso del cartel como instrumento de recuperación de la memoria colectiva histórica de seis mujeres notables del austro ecuatoriano
(Universidad de Cuenca, 2025-04-25) Nivicela Bacuilima, Victor Leonidas; Novillo Mora, Angel Gustavo
The thesis analyzes the use of posters as a tool for recovering the historical memory of six influential women from the Austro-Ecuadorian region. It highlights the importance of posters as a visual communication medium that helps preserve the struggles of these female figures for gender equality in Ecuador, making their contributions to society more visible. Throughout the 20th century, posters have been a key resource in social movements, and in this context, they serve as an effective means to narrate the stories of Ramona Cordero y León, Dolores Torres, Nela Martínez, Piedad Moscoso, Dolores Segovia, and Matilde Hidalgo. These women played crucial roles in securing fundamental rights such as suffrage and access to higher education. The study emphasizes how art, through illustration applied to the poster format, not only communicates but also educates and raises awareness about the history of these women. Furthermore, it underscores the relevance of bibliographic and visual research in establishing a strong artistic approach. The conclusion states that posters are an effective way to recover overlooked history and honor these figures in collective memory.
Reversión simbólica contemporánea del proceso de conquista y colonización, mediante la apropiación de un clásico de la pintura católica española
(Universidad de Cuenca, 2025-04-02) Torres Sisalima, Steven Daniel; Crespo Fajardo, José Luis
The Conquest and Colonization, as historical events and processes, still impact a Latin America that continues fighting for the preservation of its many affected traditions, and reflecting on how the phenomenon could have turned out in the opposite direction. In this context, the work The Other Vision of San Antonio proposes to intervene in a classic Spanish painting of Catholic narrative, with Andean characters and worldviews through a symbolic and cultural reversal of the aforementioned processes. In this sense, contemporary pictorial expressions are developed that use, from the Latin American reality, the same appropriationism and syncretism handled at the time by the Catholic Church, in a culturally and artistically transgressive act. Based on The Vision of San Antonio de Padua, by the Spanish author Murillo, a ritual of the Aya is represented, with its Andean iconography and ideology; in a baroque setting achieved by the management of theatricality, color and lighting, to achieve a complex aesthetic experience that confronts hedonistic enjoyment and blasphemy or provocation in search of a historical reflection.
Propuesta visual alegórica del barrio San José de Balzay, en Cuenca, para el fortalecimiento de la identidad cultural comunitaria
(Universidad de Cuenca, 2025-03-24) Morocho Gomez, Axel Mateo; Novillo Mora, Angel Gustavo
The objective of the present work is to create an allegorical proposal of the Barrio San José de Balzay, in Cuenca, for the strengthening of the community's cultural identity. As it goes deeper into the research, the autoethnographic is approached, but it also encapsulates the perspectives of the inhabitants of the community, through the ideo-thematic, morphological and expressive construction. In this way the mural becomes the possible medium that brings together memory, identity and affection.
Confrontación del imaginario simbólico edulcorado del “sueño americano” en propuesta artística visual de técnica mixta analógico-digital
(Universidad de Cuenca, 2025-03-20) Llivipuma Pañi, Danny Alexander; Pañora Chacha, Juan Carlos
The growing wave of migration carried out by people from Central and South American countries seeking to reach the United States raises all kinds of international concerns. The "American dream" is often presented as an unquestionable promise of success, leading many to risk their lives in a desperate attempt to escape their home countries. In this context, the work “Silent Lament of the American Dream” aims to confront the sweetened symbolic imaginary of the American dream, in a visual artistic proposal of mixed analogue- digital technique. A work has been produced by contrast of symbolic scenarios. Below, Latin America, immersed in an orgy of bodies in tension that strive, crowded together, to move forward in the midst of difficulties. Above, with the parchment monochrome trend of the map- work, the Statue of Liberty shines in gold, surrounded by skyscrapers and other symbols of North American progress. Both geographies are separated, also symbolically, by a compositionally less dense space, which refers to the Rio Grande, the obligatory Stop of the march where the pace is obligatorily reduced, today with its anti-immigrant buoys floating as the last obstacle to be crossed, in a game of lives and futures, the work is an anti-allegory of the American dream, for promoting a questioning aesthetic experience that leads to productive reflection on the problem.
Propuesta escultórica para el fortalecimiento de la relación de bienestar humano-naturaleza en el tercer milenio
(Universidad de Cuenca, 2025-03-15) Urgilés Criollo, Tery Samantha; Pañora Chacha, Juan Carlos
The third millennium is one of the periods of greatest anthropogenic impact ever conceived. During the development of anthropocentrism, the fragmentation of Nature as a simple object of profit was precipitated, degrading the reality of contemporary civilizations; environmental pollution and global warming reached unprecedented levels, converging not only the ecological crisis, but also the spiritual crisis of humanity. Today, artificial connections have invaded the collective consciousness, increasing the disarticulation of the human being with natural reality. Faced with this situation, a sculptural proposal is promoted, for the strengthening of the relationship of Human-Nature well-being, in the face of the environmental and social imbalances of the third millennium. Through the discursive approach of ecocriticism, anthropocentrism is refuted as the only current of thought and seeks to exempt the subalternity of wildlife, establishing the vindicative recognition of the rights of Pachamama (sumak-kawsay). To this end, a work of eco-art is presented, with the creation of three- dimensional worlds that make up a vast ecology of interconnected beings (symbiosis) and make visible an ecocentric reality where all things are completely intertwined; in its biophilic setting, each "micro" ecosystem assembles organic material and biotic organisms, characterizing and exemplifying the symbiotic qualities of Mother Nature, as a planetary, harmonious and balanced whole, with the intention of de-phased the protagonism, in the image and likeness, of man, a naturalistic and deeply spiritual aesthetic is prioritized. The visual force of bio-art with magical realism achieves a cognitive breadth of polysemic imagery, which disinhibits conventional perception, in a reflective and empathetic speculation, to provide the viewer with a sensitizing and raising awareness experience; And thus, with the aesthetic update of surrealism (dreamlike vision) in environmental art and the establishment of the visuality of “wild thought”, the perfect euphony of nature is represented.
Elaboración de un tríptico pictórico como herramienta sensibilizadora sobre el manejo de la dismorfia corporal, basado en una experiencia autoetnográfica
(Universidad de Cuenca, 2025-03-17) Flores Sacta, Anahí Fernanda; Pacheco Ayora, Sonia Katterine
In our contemporary society, dominated by an extreme visual culture, individuals are subjected to unrealistic demands about their body image, commonly promoted by media and advertising. Although it may seem harmless, the normalization of these unreal standards has led many to develop conflicted relationships with their appearance, with Body Dysmorphic Disorder (BDD) being a prominent example. In this context, this artwork seeks to raise awareness and foster a dialogue with the viewer about this condition, its development, and its repercussions, through the use of autoethnography and the artistic treatment of the visual. Dysmorphosis is a pictorial triptych created in acrylic on canvas that recounts my personal experience with BDD, expressed through three key moments: the beginning, where the mind processes and internalizes judgments and stereotypes that begin to distort personal image; the struggle; an ongoing process where the mind and body battle; and finally, acceptance, a gradual but not definitive process of reconciliation with my body.
Potencialidad de la iconografía andina para un enriquecimiento de prácticas de la cultura visual, mediante máscaras futuristas experimentales desde una cosmovisión dantesca
(Universidad de Cuenca, 2025-03-12) Lopez Gallego, Mateo Andre; Pañora Chacha, Juan Carlos
The work explores the potential of Andean iconography to enrich contemporary Visual Culture practices through experimental futuristic masks inspired by a Dantean worldview. Its main goal was to establish a dialogue between tradition and modernity, combining universal symbolic elements with the cultural richness of the Andes. To achieve this, three specific objectives were set: to build ideothematic, morphological, and expressive foundations that merge Andean and Dantean iconographies; to develop a series of sculptural masks in digital preproduction; and to support the creative process through a written exegesis. Using the research-creation methodology, bibliographic reviews on Andean iconography and artistic references were combined with digital design and 3D printing techniques, employing modern materials such as PLA+ and symbolic decorative elements. During the development, the masks represented the seven deadly sins and universal concepts such as redemption, integrating Andean elements like the chacana and mythical animals within a futuristic framework that blends the grotesque and the sublime. The results showcase an innovative visual narrative that bridges the ancestral and the contemporary, achieving the creation of sculptural pieces that symbolize the interaction between the spiritual and the cultural. The conclusions demonstrate how the work revitalizes Andean iconography and re-signifies it in a global context, highlighting the use of technology as a means to preserve and update cultural traditions. In summary, this work contributes to Visual Culture by proposing an aesthetic vision that connects deep cultural roots with modern artistic and technological dynamics.
Elaboración de una propuesta estética mediante lenguajes visuales contemporáneos sobre una particular visión autoetnográfica de un contexto de familia
(Universidad de Cuenca, 2025-03-17) Arias Navas, Cristina Lucía; Ordóñez Carpio, Santiago
The present text develops the narrative exegesis of the artistic production of an aesthetic proposal through contemporary visual languages, based on a particular autoethnographic vision of a family context. Within this context, a series of processes unfold, transitioning from the sensitive to the practical, presenting a methodology that intertwines visual and participatory arts with literature. The goal is to guide the reader through possible processes involving experimentation with various proposals, aiming to strengthen their development and provide certain tools that may be useful as a methodology or reflection. This is achieved through a narrative in which the artist interweaves different perspectives—reflected in the text as a tapestry of internal voices, represented typographically through diacrisis, allowing for a mixed configuration of voices engaged in introspective, analytical, critical, and artistically constructive dialogue. These perspectives converge in the outcome of a visual narrative that reveals both the artist’s subjective world and her relationship with the territorial and social context that shapes her.
Propuesta escultórica contemporánea con materiales comestibles para la concienciación del carácter compulsivo de las adicciones
(Universidad de Cuenca, 2025-03-14) Quintuña Villa, Juan Andres; Washco Castro, Adrián Efrén
In addictions, compulsivity is a crucial element and by influencing the individual, he motivates him to obtain pleasure and satisfaction, which are usually ephemeral, normalizing specific consumption and actions by seeking greater durability of these sensations, without considering the progressiveness of the problem. Therefore, it is difficult to interrupt the cycle, resulting in a physical and mental impact on the individual and even his social environment. The installative sculpture is composed of two human figures created with edible materials, located on a circular support of the same material and accompanied by five extra plaques; the work offers a chromatic duality at the same time as range of textures. In addition to the representation of compulsivity, the purpose of the work from materiality is to lead to an aesthetic, critical and gustatory experience, in such a way that it questions the viewer about his relationship with pleasure, self-control and the experience within addictions. In this way, generate empathy and awareness about the problem, likewise, highlighting and introducion in the connection established between art and gastronomy.
Propuesta visual contemporánea para una revalorización de las visiones múltiples de la historia como constructo social y cultural
(Universidad de Cuenca, 2025-03-14) Marquina Yanzaguano, Erick Fernando; Guzmán Galarza, Manuel Geovanny
The historical narratives established as oficial are constructions that obey the interests of the hierarchy of power. In every era, narratives have been silenced and manipulated to justify violent actions against the oppressed. In this social context, art manifests itself as a vehicle that displaces the viewer towards the knowledge of absolute truth. Based on a body of research on the indigenous massacre, a visual representation is developed with a renewed symbolic approach. The pictorial result obtained explores the convergence between classical techniques and digital tools to achieve a genuine discourse from the victims point of view. In this way, the work presents two significant moments of the conflict between the people and the political-terrorist power. The first, an interpretation of the climax of the conflict between the victors and the vanquished. Subsequently, the author's reliable portrait of the perpetrator of the crime in the Andean scenario. Thus, the two pieces contribute to the revaluation of the multiple visions of history as a cultural and social construct. In such a way that the artistic product constitutes a solid relationship with contemporaneity by generating an echo with current social struggles. In this framework, the work is a visual testimonial that promotes questioning and reflection on the domination of the elite.
Material didáctico libro sensorial basado en la metodología de Montessori para niños de 3 a 6 años
(Universidad de Cuenca, 2025-03-13) Torres Sanisaca, Karen Andrea; Rodas López, Fabiola Virginia
This work presents the development of a cooking guide for children within the artistic genre to teach in a playful way and with didactic material about traditional events in the city of Cuenca, such as the popular religious festival of “Corpus Christi”; emphasizing the snacks; as well as the traditional culinary art of Ecuador, such as fanesca and colada morada. The research is focused on boys and girls from 3 to 6 years of age. The guide is built from a bibliographic search to determine the appropriate conceptual framework, allowing the proposal of the didactic text to be academically and artistically supported; Likewise, identifying the needs and preferences that the children express to finally present the proposal for a sketch of the text, which will be made using a mixed technique; In the case of the first sketches, graphite will also be used, digital programs such as Sketchbook and Photoshop to capture the idea of the sensory book and its manufacture, whose format will be A4; due to better management and manipulation of children, with the aim of obtaining greater development of autonomy and independence in activities. In the educational field, the management of adequate and functional teaching materials is essential; as well as, these are linked to the contents and learning skills; for example, the traditions of the city and country.
Representación escultórica contemporánea para una dignificación laboral y valorización estética de la práctica del reciclaje
(Universidad de Cuenca, 2025-03-12) Vallejo Zúñiga, Christofer Jesús; Pañora Chacha, Juan Carlos
Recycling exists, but in an invisible way. It is carried out mostly by women, who are dedicated to the recovery and sale of materials obtained directly from the garbage, contributing to waste mitigation. This represents a very low and unfair economic remuneration for the support of their homes, in addition they do not have the recognition they deserve and they are discriminated against. In this context, I propose to dignify the work of women recyclers and highlight their working conditions, through a life-size female sculpture in a contemporary and deeply symbolic installation context, as a monument. My work is inspired by my mother's experience: a basic recycler in the city of Cuenca for more than 15 years. The proposal represents hundreds and thousands of women from the region and the world who constitute the main breadwinner for their families, in a contemplative and empathetic proposal, which attempts to promote a view of respect and social gratitude. The female character pulls the heavy load collected in eight hours of work in the streets, facing various risks, such as accidents, cuts, contagions and infections. The burden is, at the same time, physical, family, economic, social and emotional. The work invites us to reflect on the value of this activity and the importance of women recyclers in our society, promoting a view of respect and dignity towards their work.
Reinterpretación artística de una leyenda urbana ecuatoriana, como aplicación visual del principio de oralidad y contribución al relato
(Universidad de Cuenca, 2025-03-12) Ochoa Narváez, Kristopher Jack; Novillo Mora, Angel Gustavo
In the country, there is an extensive and diverse cultural and visual knowledge, linked to ancestral stories and traditions that enrich the collective imagination. However, this cultural identity is notoriously affected by the growing predominance of global culture, which tends to increasingly distance people from their original ties, making it difficult to distinguish and preserve their culture from that of other societies. In this context, we proposed to contribute to the cultural validity of an Ecuadorian urban legend in the contemporary representative imaginary, through a visual reinterpretation adapted in a modern approach. The series, composed of six digital illustrations (material that favors technical renovation), was generated after the collection of knowledge and narratives, both oral and written, linked to a legend, through the application of the principles of orality, encouraging an active participation in the collective cultural construction of its story. A new standard is stimulated based on a process of visual stylization. The aesthetic experience promotes immersion in the reality of the visual richness of a society, as well as an iconographic and stylistic renovation through a creative work, leading them towards varied and current styles, trends and artistic practices, showing culture as a continuous and dynamic process, which is forced to adaptability.

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