Mural by Inti for No Limit Street Art Borås 2015. More information about No Limit, here.

Muralist devoted to street art, specifically to graffiti, since age 15. In parallel he studied at the Fine Arts School of Viña del Mar. Despite criticism from detractors of artistic expression in public spaces, his works won a space on the streets and buildings of Valparaiso, first, and then in cities all over the world. Based in Paris right now, he has established himself as a benchmark of street art, muralism and international graffiti, being constantly invited to festivals and exhibits related to avant-garde art in South America, Europe and the United States.

Inti´s work is mainly inspired by pre-Columbian and Andean cultures, rescuing and redefining iconography and symbols that are both ancient and contemporary. Currently, we can find his mega murals in countries as diverse as Lebanon, Norway, Bolivia, Poland, Puerto Rico, France, Canada and others. The list keeps on growing with his frequent travels.

We can see creations nurtured from a long story, starting with the theatrical and circus characters of his early graffiti, followed by his phase of evoking the sacred, the festive, the combative and thoughtful, showing the influence of Andean textiles and pre Columbian designs in general, the colors of carnivals and festivals, the protest spirit of indigenous people, and the cultural syncretism that shapes current American society and himself.

Inti was born in Valparaiso on November 7th, 1982. He studied at the School of Fine Arts in Viña del Mar and his own interests led him to deepen his knowledge of pre-Columbian cultures, concentrating in the relationship that these cultures established with the influences of the conqueror continent.

Inti discovered Latin characters like Kusillo, Ekeko, Kollón and Pepino (Cucumber), among others; characters that without losing its playfulness and carnivalesque side, remain sacred and part of religious ceremonies in places most connected with their “Latin American ancestry” -to give it a name. For him, they were constituted as a perfect representation of the religious and cultural syncretism of peoples of our continent and hence, of his own person. A point of connection between his Chilean-Latin social identity and the work he had been developing for years on the streets.

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