Behind the faces painted on the walls of Callao is an artist with a strong message: community and unity over violence and hate.
The word “graffiti” originates from the Greek word “graffin,” meaning to write. It is often linked to the hip hop musical style and must be done illegally or it is not graffiti. When graffiti is done by day, with permission and the artist is paid, it is no longer illegal and stops being graffiti and becomes a mural. True graffiti is often done at night, with adrenaline and in a hurried manner.
Alexis Villanueva Puente, also known as “Salsa,” began to paint in 1996 as a way to portray great characters from the world of salsa music and dance. His work gained immediate acceptance in Callao, the chief seaport of Peru. While often considered a coastal suburb of Lima, Callao is actually an independent constitutional province, and the people who live there have great respect for the salsa giants and their music.
Villanueva’s most well-known work is his depiction of Héctor Lavoe on the corner of block three of Jirón Atahualpa in Callao. This work was completed by request of the people in the Atahualpa neighborhood, often considered one of the most dangerous zones in Callao. Next to Héctor Lavoe are other famous salsa artists, including Frankie Ruiz, Tito Puente and Celia Cruz. When people look at that corner, they don’t just see the deteriorating wall of a dangerous neighborhood; they see their favorite salseros who represent music and the positive message that is conveyed through their songs.
Even though Callao is home to a number of important historical sites, for years it has struggled with crime and poverty. However, with the help of an urban art project and community organization called Monumental Callao, the neighborhood has been undergoing a transformation through works of art by some of the most cutting-edge initiatives and artists in Peru, including Salsa. Graffiti is one of the most popular modes of expression by the participants of this project.
Today, as part of the Monumental Callao project, Villanueva has parted from painting famous salsa artists and his work instead focuses on the individual victims of urban conflict in Callao as a way to bring together the neighborhood and build community. Since starting this work, he has also been a part of a project with Henry Rodríguez Ortiz called “Cerca de la Luz.” In this project, the mothers of the victims are photographed in front of the images of their children. Without words, Villanueva’s art, together with Rodríguez’s photographs, is direct communication that pays tribute to those who have fallen as a result of violence in Callao.
The term “graffiti” is often associated with vandalism, so perhaps a better way to describe Villanueva’s work is urban art. However, be it graffiti or urban art, it is a means of expression through a creative, visual language that pushes the boundaries of opinion to reveal a statement or truth. These labels have more to do with the viewer’s personal perspective and preference than the purpose within the paint. What is important is the message that Villanueva is trying to convey. By painting the great salseros and portraits of the deceased, Villanueva’s work reveals a different side of Callao – one that rejects violence and doesn’t harbor hate.
