After Bojórquez concluded his journey and returned to Los Angeles in May 1980, he began to produce graffiti with a greater focus on typeface and calligraphy, and explored the use of canvas as a medium.

Bojórquez and other Chicano artists were developing their own style of graffiti art known as West Coast Cholo, which was influenced by Mexican muralism and pachuco placas (tags which indicate territorial boundaries).

Having spread throughout the Los Angeles prison system, the depiction of Señor Suerte as a tattoo was thought to protect the owner from gunshot wounds and other injuries.

[4] Bojórquez eventually made the transition to stenciling Señor Suerte on canvas, presenting the work for the first time as a painting in 1975 at the Los Angeles Municipal Art Gallery.

By listing the names of these individuals in this manner, with figures including Bojórquez's former girlfriend and other close friends, he is calling back to the gang tradition of using placas to mark territory, display loyalty, and act as a representation of a greater community.