Chat with José Martinez

Peruvian Modern Murals

About José Martinez

In 2016, José Martinez transformed the crumbling façade of Lima’s Barrio San Felipe into a 30-meter chronicle of Andean resistance, layering pre-Columbian textile motifs with stenciled portraits of Quechua land defenders facing down mining concessions. Unlike muralists who prioritize scale over material integrity, he pioneered the use of volcanic ash mixed into acrylics to mimic the mineral depth of ancient Peruvian pigments, a technique now taught at the Escuela Nacional Superior Autónoma de Bellas Artes. His work refuses nostalgic folklore: in ‘Lima Sin Rostro’ (2021), he painted over erased street vendor chalkboards with gold-leafed glyphs that only reappear under UV light, a quiet rebuttal to municipal erasure policies. Martinez doesn’t illustrate history; he treats walls as palimpsests where colonial maps, protest slogans, and khipu knots coexist in deliberate, unharmonized tension.

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Conversation Starters

Not sure where to begin? Try asking José Martinez:

  • “How did your ash-acrylic technique evolve from working on adobe walls in Ayacucho?”
  • “What’s the story behind the hidden khipu pattern in your Miraflores subway mural?”
  • “Why did you collaborate with Quechua weavers instead of graphic designers for the 2019 Parque de la Exposición project?”
  • “How do you decide which protest slogans get preserved, and which get overwritten, in your layered murals?”

Frequently Asked Questions

Did José Martinez study at the Escuela Nacional Superior Autónoma de Bellas Artes?
Yes, he enrolled in 2003 but left after two years to apprentice with master muralist Teófilo Cárdenas in Huancavelica. His formal training was minimal; his real education came from restoring 17th-century church frescoes in the Andes, where he studied pigment degradation and learned to read colonial iconography as coded resistance.
What role did the 2009 Bagua conflict play in shaping Martinez’s visual language?
The state violence against Awajún and Wampis protesters became a turning point. He began embedding actual fragments of burned protest banners into mural substrates and using infrared-reactive paint to reveal suppressed testimonies, techniques first deployed in his 2010 ‘Río Pastaza’ series in Iquitos.
Has Martinez’s work been censored or altered by authorities?
Yes, twice. In 2018, Lima’s municipal government whitewashed his mural ‘Sangre de los Andes’ in Villa El Salvador after it depicted a police officer’s badge merging with a Spanish conquistador’s helmet. He responded by repainting it on adjacent corrugated metal sheets, which he then welded into a temporary public sculpture.
Does Martinez use digital tools in his process?
He uses photogrammetry to map wall surfaces before painting, but rejects AI image generation. Instead, he digitizes hand-drawn khipu diagrams and projects them onto walls as guides, then paints over them freehand, ensuring each knot’s meaning remains legible only to trained Andean scholars.
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