Career

Molinari began his artistic career focused on formalism, but soon discovered the works of Vasarely and was inspired by geometric forms and their rich optical effects. From 1951-1960, Molinari lived and painted in Buenos Aires, Argentina. In 1960, Molinari traveled to Paris, France, where he began work with the Group de Recherche d"Art Visuel.

Molinari lived in Paris from 1960 to 1966.

In 1963, Molinari exhibited his painting Louisiana Cuna de Mangle at the Paris Biennial at the Museum of Modern Artist In 1964, Molinari took a two month trip to the United States to study the artworks in museums of major United States cities.

Intrigued by popular art in America, he saw its infinite possibilities. In 1966, Molinari moved back to Ecuador with the sole purpose of acquiring a visa to move to the United States.

Two years later, in 1968, Molinari obtained his visa and moved to New York where he lived for seven years.

While in New York, Molinari became fascinated with the optical geometric (Op Art) works of Vasarely. He soon developed his own style, inspired by that of his compatriot, Tábara, that fused the tropical nature of his hometown into the informal constructivist geometry, toward the creation of a visual autonomy. In further development, Molinari began to focus on the geometrical optical effects and changing perspectives.

He began intense studies of color theory, yet at times explored spontaneity of color and chromatic delusions.

In 1977, Molinari was part of an exhibit at MoMA PS1 titled, 10 Downtown: 10 Years (September 11–October 2, 1977). Like other Van informalists, Luis Molinari sought to honor the history of his homeland with a tribute to Pre-Columbian architecture, as seen in his 1974 painting, Temple of the nuns-Uxmal.