Jorit combines a profound realism and a great technical mastery of the medium of painting with strong messages of a social nature. He has been recognized by international critics such as Achille Bonito Oliva, and his artistic activity has become the subject of university studies and treatises.
Jorit began to make a name for himself starting in 2005 through a series of graffiti works executed in Naples, in the northern suburbs and in the historic center. The early works, while expressing elements of stylistic originality, were very much related to the typical expression of traditional Graffitism. Jorit made numerous train paintings on illegal walls in this early period and frequented the Yards (train depots where writers used to illegally paint on them) of many European countries.
In the early years, Jorit's painting activity is flanked by a constant political militancy that brings him into contact with the no-global and social rights movements.
Beginning in 2005, Jorit's works began to move closer and closer to a figurative style. Over time, while never completely abandoning Graffitism, Jorit began to focus mainly on the realistic depiction of the human face.
Starting in 2008 he also begins to be recognized by some museums and makes an exhibition at the MACRO in Rome, the MAGMA Museum and the P.A.N. in Naples also exhibits in galleries in London, Berlin, Sydney and Rome. In the years two thousand and two thousand and ten Jorit's activity becomes more and more international, but remains mainly linked to the street and to free and for all fruition.
From 2013 onward, Jorit's attention focuses exclusively on the realistic depiction of the human face, which he begins to mark with two red stripes on the cheeks, which refer to African magical/curative rituals in particular the procedure of fleshing out, an initiatory rite of passage from childhood to adulthood linked to the symbolic moment of the individual's entry into the tribe. He depicts on the walls in the cities he visits around the world local people, and marks them, through the pictorial ritual making them, in his words, enter the “Human Tribe.”
In the murals created by Jorit are “hidden” inscriptions, words and phrases that often expand the meaning of the works. They were first collected by Vincenzo De Simone, a Neapolitan psychologist and photographer, as part of the project La gente di Napoli.
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