During Barrio Arte Urban Festival 2018 in Santiago de Chile, Inti collaborates with the master “Mono” González to create an astonish mural at Bellas Artes tube station. The festival is a week-long event that includes books talks, music, dance and heritage routes finalised to promote the cultural content of the different districts.
This particular wall has been used as a street art canvas for years, the same Inti painted in 2013 two ekekos, characters inspired by Latin American Carnival to show his world made up of Pre-Columbian culture. So, for Barrio Arte they had to canceled the previous mural causing some displeasure among the residents as Inti says:
“When I started painting, people said, but why did they erase the murals? They were fond of them, and that goes through the strong sense of belonging of the spaces. While I paint the work, it belongs to me, but afterwards people feel it theirs, with their own memories.”.
This shows us the sense of attachment that people have among street art, as cultural expression of the neighbourhood and it gives us an important message about the ephemeral of urban art.
The mural depicts a Virgin with a calf in her arms, we see also two figures inspired by Renaissance with signs of religion and money and a basket with a corncob, a heart, a rose to complete the rich and powerful symbolism of the painting. It is a classical Renaissance pyramid composition where we recognise the influence of “Mono” in the background with its black line, the flat colours and his typical design. Due to the delicate state of health of the 71-year-old artist, it was his son Sebastian who led “Mono”’s part and even this aspect merged into the painting. Inti made a sketch and a general idea but the issue of “Mono” González’s health made him to rethink the image, creating a kind of patchwork of the happenings. This collaboration aims to create a link between two generations: the one of the 1960s, of “Mono” whose aesthetics refers to Ramona Parra Brigade and political war, with that of the 1990s, where Inti is one of the main references. There is the intent of revealing the history of Chile, where before the dictatorship there were many artistic movements connected to the Muralism. Indeed, after 15 years of cultural blackout, the post-Pinochet generation rediscover the culture of their hidden past, as a result of a desire to build a common dialogue with different generations, showing a strong bond and continuity.