Jorit is an Italian artist specializing in urban art.
His work has been featured by major international media outlets including The Guardian, BBC, Middle East Eye, TeleSur, and Euronews.

He has been recognized by prominent international critics such as Achille Bonito Oliva, and his artistic output has become the subject of academic studies and university theses. Jorit combines profound realism and outstanding technical mastery of painting with powerful social messages.

Jorit began gaining recognition in 2005 through a series of graffiti works in Naples, both in the northern suburbs and the historic city center. His early pieces, while showcasing original stylistic elements, were strongly influenced by the traditional graffiti movement. During this period, he produced numerous works on trains and illegal walls, often painting in train yards (known as “yards”) across various European countries—spaces where writers commonly engage in illicit art.

In his early years, Jorit’s artistic practice was closely linked to political activism. He became involved with the no-global movement and social rights advocacy groups.

Starting in 2005, his work began to shift increasingly toward a figurative style. Although he never completely abandoned graffiti, Jorit gradually focused on the realistic depiction of the human face.

From 2008 onward, his work received growing institutional recognition. He held exhibitions at the MACRO Museum in Rome, the MAGMA Museum, and the P.A.N. Museum in Naples. He has also showcased his work in galleries in London, Berlin, Sydney, and Rome. Throughout the 2000s and 2010s, Jorit’s activity became increasingly international while remaining firmly rooted in street art—accessible, public, and free for all.

From 2013 onwards, Jorit devoted himself exclusively to the realistic portrayal of the human face, which he began marking with two red stripes on the cheeks. These markings refer to African magical/healing rituals—specifically, the scarification process, a rite of passage symbolizing the transition from childhood to adulthood and an individual’s initiation into the tribe. He paints local people on the walls of cities around the world, symbolically initiating them—through this ritualistic act of painting—into what he calls the “Human Tribe.”

Jorit’s murals often feature hidden inscriptions—words and phrases that deepen the meaning of his work. These were first systematically documented by Neapolitan psychologist and photographer Vincenzo De Simone as part of the project La gente di Napoli (“The People of Naples”).