Quito, August 1, 2017

Drafting FIDAL

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Constructivism 1917 - 2017

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Foundation for the Integration and Development of Latin America (FIDAL) promotes the traveling exhibition “Constructivismo del Siglo XXI”, by the Guayaquil artist Tony Moré.

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Fundación FIDAL will open its doors to exhibit 17 works, of abstract painting, by the Guayaquil artist Tony Moré. His inspiration is the product of an investigative work supported by the realization of artistic workshops, in Russia at the beginning of the 20th century, where constructivism was born.

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Tony Moré, heir to his father's artistic vocation, the renowned Emerald-born painter, muralist, sculptor, poet and writer Humberto Moré, has decided to commemorate, with an exhibition, the 100th anniversary of the first time the term Constructivism was used to describe - albeit in a derogatory way - a work by the Russian artist Aleksandr Ródchenko.

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In the sample, which will be exhibited from August 3 to August 20, the artist will show the combination of the chromatic, formal and structural aspects of his constructivist painting. "This new aesthetic movement, based on cubism, related to engineering and architecture, is my new plastic proposal, the same one that is mathematically constructed and its motifs are neither real objects nor free fantasies" says Tony Moré.

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About Tony Moré

Guayaquileño born in 1953. Painter, architect and interior designer, always linked to art in a direct way because he is the son of the teacher Humberto Moré. In 1969, Tony More began his artistic activity as a workshop for his father and together with his brothers they participated in the realization of 200 paintings for the Hotel Continental. Likewise, he participated in the realization of the mural and children's games for the Parque de la Ciudadela Ferroviaria.

After finishing high school, he decided to enter the Faculty of Architecture, he painted little at that time since he dedicated himself to doing architecture and construction work at the National Housing Board, an institution that would train him as a professional.

In 1984, Humberto Moré died in Havana (Cuba), a fact that compromised him with the artistic memory of his father and led him to paint as a professional.

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