Born in Quito (Ecuador) in 1968. His early years Pomasqui housing about half of the world, Ecuador's equatorial line. His vocation for art manifestdesde early age, at 15 years and drew, painted and made sculptures in wood and ceramics, but later he joined the musical group Llacta Rumi (Pueblo Stone ); years later entered the ISEV (Instituto Superior de Estudios Vdicos) where it takes the spiritual name Kishor KRISHNA DAS, which means an average age of God, according to vdica culture to which they belong and where the young man started Kishor perfect their techniques. Kishor decided to put his studio and residence in Madrid, where he obtained citizenship and founded the Association Espaola cultural ROOT AND COLOR IN movent (1998), which is the current President, developing projects difusiny PROMOTION No Art and Culture. Ajvenes supporting artists who begin the arduous journey of this profesiny contributing positively to artistic innovation, as this is an inspiring stimulus for the enrichment of the fusion of art and artistic and cultural expression in this society. Currently preparing two monumental series where all the color and mystery of the Andes and the trasmigracin outcrop with its load of visual poetry which seeks to consolidate his international career in the next years. Criticism of Margarita Sandoval, PhD in Journalism at the Universidad Complutense de Madrid "The Work of Kishor" Inscribed on the paradoxes of the contemporary world, Kishor's work reflects the uncertainty that separates and unites opposites simultaneously: the Andean tradition and decadence of modernity. The personal and artistic identity remains a concept in the Ecuadorian painter and became permanent in a search comenzhace more than two decades. The first pictures motivsus heritage. In step Andean women and men prevail wearing brightly colored clothes, mestizos and natives twinned with the goodness of the earth, naturally integrated into the landscape. Ancestral traditions expressed in daily acts are the main topics. Throughout this stage aesthetic confrontations arise early, so we see the passage of a ship to paint more personal and reflective. The search continues as an act of artistic and spiritual renewal. The reincarnation of the paintings reflects the distance that the artist has taken with respect to its previous stage. Scholar of the twentieth century avant-garde, Kishor opts for Cubism and Expressionism, Picasso and de Kooning left an imprint in the acquis momentous stylistic. Urban issues loom large in the evocative collages, references to the Andean cosmogony are intentionally distant and significant. External materials, including other paintings by the same author, are integrated into the work and make new meanings. At this stage, the dialectic of the artist intensifies the color of the execution travs spot: ink flows channeled by the intentional movement of the artist. Find it aware that one lives with the inevitable happened. His willingness to reevaluate the tools of the painting of all time Kishor takes to make color Petroglyphs. At this stage, the media returns to its importance as an ancient instrument, indispensable condition to a greater or lesser extent, the pictorial work. Conformaciny interesting is the distribution of the details, the symbols of the Mestizo renewed thread, Ascom the abstraction of form, which appeals to the aesthetic-ideological apreciacin logic of those who observe them. The artist does not seek an audience for their work, but a co-creator found sitting travs speech suggested. Mestiza in the content, but much more in the way, Europe Andean is a space which integrates the knowledge and experience of the painter: the roots grow stronger and trace the path of intentionally moving towards free and expressive forms. The line shows the expressive power of the brushes, spatula or brush, paint tools cohabit with plastic values of the work, which included the transmigration of color and experimentation No alternate materials such as sand or an old guitar strings. Kishor proposes a dissertation on the aesthetics of painting techniques, the language of materials and the abstraction of forms. The work becomes a reference for smisma and at the same time, a reflection of the search that characterizes contemporary art universal.