Origin of the project
Santa Catarina Palopó, on the shores of Lake Atitlán in Sololá, Guatemala, is home to around 8000 families who share a common ethnic background and culture. By 2016, however, the town faced significant challenges: widespread migration of young men, limited access to education, and few income opportunities had left the community impoverished. In contrast, a few weekend homes and small hotels dotted the area, catering to visitors. Journalist Harris Whitbeck, a regular visitor to the lake, and his niece Melissa approached the community to ask how they could help improve the situation. This sparked a series of projects, starting with street cleaning and drainage installation and growing into a broader revitalization effort.
In the early stages of artist-originated projects, collaboration and vision often play a pivotal role in shaping outcomes. This was evident when designer Diego Olivero was appointed Creative Director, during which time he and I worked together on an installation for the International Fashion Showcase in London. We discussed ways to integrate the textile history of the community into the pictoric intervention he was invited to conduct, through art and participation. The objective has been to improve the sense of community, the mutual care of the public space and help visualize the unique identity of this great culture. His unique approach, informed by his deep understanding of the region—a place I have visited frequently since 1995. Watching the project evolve was inspiring. We see how artist-initiated projects often function as a bridge between creative practice and social transformation, blending aesthetic innovation with civic engagement.
London Design Biennale
By 2017 Santa Catarina Palopó was slowly being transformed, I had the opportunity to contribute as a curator, supporting the Embassy of Guatemala alongside an extraordinary team led by Diego Olivero and Sylvia Tennenbaum. Together, we presented the project’s story at the London Design Biennale, the art piece was named palopó, where it received the prestigious Public Medal. This recognition not only elevated the project’s global profile but also generated significant impact back home, fostering donations, community validation, and long-term sustainability.
The installation, which has since been presented also in the Ixchel Museum in Guatemala City, continues to exemplify this fusion of design and community empowerment, leaving a lasting legacy both locally and internationally.
Current Status
The Pintando el Cambio initiative in Santa Catarina Palopó has seen significant success, both culturally and economically, marked by several key indicators. Since its launch, the project has led to the creation of over 50 murals that reflect the indigenous Tz’utujil culture, attracting an increasing number of tourists to the village. This rise in tourism has had a positive economic impact, with local businesses reporting a 20-30% increase in revenue, particularly in crafts, food, and lodging. Additionally, the project has fostered a sense of pride and cultural preservation within the community, with more than 80% of local households participating in the mural creation process or benefiting from its economic spillover. The murals have also garnered international attention, with the village now frequently featured in travel blogs and cultural publications. Pintando el Cambio has thus achieved its goals of promoting both cultural heritage and sustainable development, with measurable improvements in local economic activity and community engagement, while preserving the traditional identity of Santa Catarina Palopó.
According to Claudia Bosch, president of the NGO managing the project, migration has decreased by 50%, as reflected in G22 reports. Special ecological stoves have been installed, and improvements to roofs, sidewalks, and public spaces have been implemented. The community also amended local laws to preserve their town’s aesthetics by prohibiting commercial advertising that would deface walls and introducing controlled advertising regulations to avoid visual pollution. Additionally, political parties are now banned from painting rocks along roads or on light posts, ensuring the town’s beauty and cleanliness are maintained.