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Marlon Puac
Marlon Puac
Lives and works at Lake Atitlán. Born in San Pedro La Laguna, Sololá, in 1984. Guatemala. Graduated from the National School of Fine Arts ‘Rafael Rodríguez Padilla’ (ENAP) in Guatemala City, 2001-2005, specializing in painting. He is a Tz’utujil visual artist and illustrator of children’s publications in Guatemala and Portland, Oregon, United States. Solo exhibitions: ‘Identity,’ Koelsch Gallery, Houston, Texas, 2012. ‘Retribution to the Weavers,’ Tz’unun Ya’ Handicrafts Market, San Pedro La Laguna, 2024. Group exhibitions: ‘Decolonial Dialogues,’ 2014, Samajib’al Achib’al Gallery, San Pedro La Laguna. Selected to participate in the book ‘Between Centuries’ Contemporary Art of Central America and Panama, 2015. ‘Decolonial Turn in Mesoamerican Art,’ Hall of Crystals, Rubén Darío Theater, Managua, Nicaragua, 2017. Selected to represent Guatemalan Contemporary Art in the Imago Mundi project in 2017, under the auspices of the Fondazione Benetton Studi Ricerche. Finalist in ‘Art in May,’ organized by the Rozas Botrán Foundation, from 2016 to 2019. He was the director of the Tz’utujil Art and Culture Center ‘Samajib’al Achib’al’ in San Pedro La Laguna, Sololá, 2015-2018. ‘Collectible,’ Osmosis Space, Guatemala City, 2023. His work has been part of more than twelve collective exhibitions in Guatemala, Nicaragua, and the United States.
Marlon Puac Arts
See all Marlon Puac artsTHE ANCESTRAL ORIGINAL WEAVE For several years, I have been thinking about the ancient art of weaving, which here reflects strength, science, mathematics, identity, community, and above all, resistance. Many women and men still weave and embroider their garments. However, traditional clothing has been one of the elements that has resisted violent persecution, rejection, exclusion, discrimination, and racism since colonial times to the present, in a nation that resists recognizing cultural diversity as such, rather than as folklore. Each indigenous community has its own different styles and patterns, so it is generally possible to recognize the style of clothing and its origins. The patterns woven into the fabrics, with their unique colors, lines, and angles, provided me with inspiration for my pictorial compositions. Furthermore, I want to emphasize that in ancestral weaving there are memories that have been passed down from generation to generation; at its core lies the perpetuation of our identity.
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