Heerlen, Netherlands
"TRILLENDE LENTE" (vibrant spring) is a mural painting covering entirely the Aurora building, an 18.000 square meters housing complex: the biggest one in the Limburg region, in the southern Netherlands.

Stichting Art Foundation, who is behind the initiative, is trying to eliminate the stigma from the depression caused by the mining industry collapse and the subsequent heroin flood aftermath during the 60s and 70s. This project is the latest flagship for the new direction that some of Heerlen's relevant cultural agents are heading the city.

The project began in November 2017 and concluded in November 2021.
Boa Mistura held several neighbor meetings during 2018, to understand the context and develop different design options. Finally, in April 2019 they presented the concepts to the Aurora complex tenants, who discussed, voted, and approved the final one.

The artist collective led the execution between June and November 2021.
During all this time, Boa Mistura had the assistance of Botterweck, a local paint company, as well as thirteen people from the job placement program Weerk voor Heerlen and more than one hundred neighbors who volunteered during several open, participatory days.

The project is an initiative by Stichting Art Foundation, with the support from Wonen Limburg.
Heerlen is the second-largest city in the region of Limburg, in the southern Netherlands.
Thanks to the mining industry during the late XIX century, the town began to grow, attracting thousands of people looking for opportunities in the coal mines. But the golden Era faded out quickly during the late 50s, resulting in the closing of all the mines between 1965 and 1975. This economic crack sunk Heerlen in a deep crisis that later worsened due to the massive heroine arrival, destroying the city's social fabric.

Nowadays, the city looks to get rid of those dark years and reinvent itself through new approaches that can erase the stigma from the depression years.

From the neighbor engagement and citizen volunteering, this project aims to promote social values beyond art and create a new icon for Heerlen's new dawn.
During 2018 we conducted several discussion panels with the neighbors at the complex to understand the area’s context.

During these meetings, they pointed out the name of the own complex, Aurora, bonded to the new dawn where Heerlen is approaching.

After decades of economic prosperity, Heerlen suffered a significant crisis due to the collapse of the mining industry during the mid-60s.
Today, the city is working to reverse the inertia of years of depression.
“In every winter’s heart lives a vibrant spring.” 
 We chose this quote by the Lebanese poet Yibrán Jalil to wrap the whole complex and represent the relation between the past and present of the city of Heerlen. 
 The different chromatic palettes affect the typography throughout the building’s half a kilometer—warm colors on the exterior fade to a cold palette on the interior access corridors. 
 The proposal was approved in a neighbor meeting in April 2019.
We carried out the execution between June and October 2021. We had a team of thirteen people from the insertion program “Weerk voor Heerlen” during four working months in 2021 and the help from volunteers from all over the city during a few participatory painting days.

  • 18.000 m2 peremeter intervention
  • Exterior coating on brick and concrete, and synthetic enamel on metal
  • Project conceived by Wonen Limburg, and Stichting Art Foundation
  • Financed by Wonen Limburg, Iba Parkstad, Stichting Art Foundation, Rabobank, Parkstad Limburg and la Ciudad de Heerlen
  • With the support of Sikkens, Botterweck, MH Roadstyling, Breman, RD4U, mabs 4.0, Budget Home Store XXL, Attender, Yask, Balanz and Thibor
  • With the collaboration of Province of Limburg
  • Thanks to the Stichting Art Foundation team: Volmar Deljewi, Peter Fransman, Lars De Kort, Lars Ickenroth and Fiedel van der Hijden for taking a bet on Urban Art as a catalyst for the social development
  • Thanks to the Wonen Limburg team: Marti Van Daam and Geer Peters, Twan Vincken, Monike Holtackeers, Roeland Cleuren, Petra Veenstra, Gaston Quaedvlieg and Helen Hillemans, for making it possible
  • Thanks to the Werk Voor Heerlen team: Thomas, Toon, Maria, Ritchenel, Robbert, Shawn, Bjorn, Abukar, Jeffrey and Kristel, for your commitment
  • Thanks to the Sikkens team, especially Stefan Marutiak
  • Thanks to Thomas, Jonathan, Misha and all the Botterweck team
  • Thanks to all the volunteers at OBVION
  • And finally, thanks to all the Aurora Complex residents. Especially to Tatjana, Omatje, Leo, Eric, Amanda, Diego, Sabra and Farida, Raymond, Ingrid, Sara, Maurice, Jordi and Mireya, Cheef, Lee and Bart, for being our family during all this adventure
  • Further information (in dutch) at
  • Execution team at Boa Mistura: Irene García, María Corrales, Javier Ballesteros and Gregorio Buendía
  • Execution assistants at Werk Voor Heerlen: Thomas, Toon, Maria, Ritchenel, Robbert, Shawn, Bjorn, Abukar, Jeffrey and Kristel
  • Video and Photography by Boa Mistura, Twan Vincken, Jonathan Widdershoven


Santo Domingo, Mexico City, Santiago, Madrid, San Juan, Medellín
The project “Unión” is an artistic collaboration between the Spanish artist collective Boa Mistura and the Puerto Rican artist Myke Towers. “Unión” reflects those invisible bonds that connect people and places beyond cultural, racial, or social differences. Music and Art are connecting vectors that cross borders.
The work comprises six abstract, individual pieces, painted in 6 different places (Santo Domingo, Mexico City, Santiago de Chile, Madrid, San Juan, and Medellín). Together, they make up the word UNIÓN.

We carried out the project in March 2021 in the communities of La Zurza in Santo Domingo, Copilco University’s Unidad Habitacional Issste in Mexico City, Renca in Santiago de Chile, La Cañada Real in Madrid, Río Piedras in San Juan and Comuna 13 in Medellín. All of them are now connected through this work. Union of countries, communities and people.

Sports courts are the neighborhoods' hearts. A large part of the community's activities is articulated around them. Courts are squares, stadiums, dance halls, and concert stages.
That's why we aim at sports courts as the project's canvas.
We approach the design by placing the six courts vertically, one next to each other, conforming a single, horizontal canvas where we develop the design.
We write the word UNION overlapped twice, both in regular and italic versions.
The word reacts to the central line, becoming a bit darker.

Over this composition, we split and adjust individually each court, adapting the design to the morphologic singularity of each one of them.

  • Total size of the intervention: 2.500 m2 aprox.
  • All courts painted with sport enamel over concrete pavement
  • Project developed with the support of Myke Towers, Buena Vibra and White World Music
  • Thanks to Max Pérez Escudero and Natalia Nieto from Buena Vibra, for making it happen
  • Size of the court: 12,20 wide x 23,5 height
  • Support from the Neighbor association of La Zurza and the Rottweilers sport club
  • Thanks to Monchi, Bryan, Juan, Nelson, Chef and the Rottweilers Sport Club. To Elia, Alex and Chileng, and to all of La Zurza neighbors
  • Aerial shots by Isern Cinema
  • Size of the court:: 15,06 wide x 28,05 height
  • Thanks to Javier and family, Brenda, Maribel Soto, Rodrigo Casas, Roberto H "Dronerobert", neighbors from the Unidad Habitacional Copilco ISSSTE
  • Aerial shot by Drone Robert
  • Size of the court: 17,60 wide x 30 height
  • With the support from Lira Arte Público
  • Thanks to all Lira Arte Público team for making this stage possible, to all the neighbors from La Renca
  • Aerial fromMatías Baeza
  • Size of the court: 9,66 wide x 17,20 height
  • Support from Asociación el Fanal and Cáritas
  • Thanks to Blanca Pastor, Pablo Choza, Tarik and his family, and all of the neighbors from La Cañada Real
  • Aerials by Boa Mistura
  • Size of the court: 16 wide x 26,6 height
  • Support from Max Pérez, Natalia Nieto and all of the team from Buena Vibra
  • Thanks to Alexis Díaz, Ilexander Rivera, David Zayas, Zeriel and all the neighbors from Río Piedras Heights
  • Aerials by Ilexander Rivera
  • Size of the court: 18 wide x 35,8 height
  • Support from Casa Kolacho
  • Gracias a Jeihhco, Elizabeth and all the parceros and parceras from Casa Kolacho who helped us: Mike Graff, Nerón, Shura, Tatam, Jomak, Bombi Sonbat, Don Gil, Simón "Sky Solutions Drones", Taller de Arquitectos, Amparo's family and all the neighbors from Cuatro Esquinas, Comujna 13/li>
  • Aerials by Sky Solutions Drones
  • Execution team: Diego Vicente, María Corrales, Irene García, Javier Ballesteros, Susana Contreras and Lira Arte Público
  • Photography and video by Boa Mistura, Dan Barreri, Gonzalo P. Martos y Matías Baeza


Madrid, Spain. 2021
Cañada Real is the Europe's largest informal settlement Since October the 2nd, more than 4.000 people are surviving with no electricity. More than half of it are children.

“NOS ESTÁN APAGANDO” ("THEY ARE SWITCHING US OFF) is a collective call, a complaint, a cry for help.
The work is made up of 4.000 candles.
One candle, one person.

The candles have been collected and lit by the neighbors themselves during the night of January 5th.
La Cañada Real is Europe’s largest informal settlement, with more than 8.000 inhabitants. It is one of the most stigmatized areas in Madrid. It began during the 60’s with the first orchards and tool houses surrounding this old royal cattle road. Nowadays, it is divided into 6 sectors along 15 km, dodging several civil infrastructures: from Coslada to Getafe, going through Vicálvaro, Villa de Vallecas, and Rivas. We can find up to 17 different nationalities.

Sectors 5 and 6, with up to 4.000 neighbors, are affected by a power outage. More than half of them are underage. Cuts began in December 2019 and had repeatedly been increasing from 2020 until October 2nd, the last day with light.

On December the 22nd, 8 UN special rapporteurs informed against the situation of these families.

Human rights are equal for everybody, no matter their condition, religion, culture, or race. We can not let all of these people be turned off.
The project takes place between December 10th, 2020, and January 5th, 2021, with Juventud Cañada and Mujeres Tabadol.

We refine the message and define the location during several meetings with local structures. Then we opened the process for collecting the candles donated by La Cañada inhabitants and civil society.

Once the 4.000 candles were collected, we prepared each one in detail to withstand the weather conditions.
  • Intervención de 115 m de largo x 4 de alto
  • velas, yeso, papel vegetal y arena
  • Realizado con apoyo de la asociación Mujeres Tabadol
  • Gracias a todos los vecinos y vecinas de Madrid que participaron en la donación de velas, y en la ejecución de la obra
  • Fotografía por Boa Mistura


Esch-sur-Alzette, Luxemburg. 2021
This project is located in the Luxemburguish Esch-Sur-Alzette's train station. It proposes a new lecture on the wall adjacent to the city's bus station docks. We used a quote by the local writer Jean Portante, aiming to give a new meaning to the spot through color and typography's geometric elements.
We took out the line "VERS LA TERRE DU POURQUOI" (heading to the land of why) from its original context, giving it as many meanings as people interact with it.
Esch-Sur-Alzette is the largest city in Luxembourg with 35.000 inhabitants that include more than one hundred nationalities.
The city stands out for its industrial past, which has caused difficulties in urban planning due to abandoned industrial land.
KUFA’S URBAN ART fest aims to improve cohesion, making the inhabitants work together on the same project by creating a collection of urban artworks and, thus, putting together an open-air museum that offers connections to the entire city. On the one hand, it is an artistic and tourism tool. On the other, it can respond to linking the different parts of a city with each other and with the center.

We understand the bus station we are working on as a place of meetings, crossroads, and farewells.
It is a place where no one stays, but everyone is, a place that belongs to no one but everyone.
For this reason and after the dynamics carried out with the citizens, we aim to achieve a change of perception of the site and convert the lost waiting time at the station into a more habitable space.
Jean Portante is a Luxembourgish poet, translator, novelist, and journalist, that serves as a source of inspiration for our proposal. We’ve looked for a good verse for the spot, considering that it is a monotonous bus station.
We’ve chosen this writer, as he is one of the best promoters of Luxembourgish literature worldwide.
Since 1980, Portante has explored issues related to identity, from memory to oblivion, in various literary genres, especially poetry, novels, drama, and essays. His literary style continues to evolve, marked by solid intertextuality, providing access to new interpretations.
We search among the verses written in French and translated into many languages to find the right message.

We have been inspired by the poem “El Fabricante de Sur” to carry out this artistic intervention.
In it, the poet narrates the loss of inspiration and how to find it again. For this, he builds a multiverse, making use of his characteristic imagery. He guides us through a parallel world, where he presents several allegorical figures about the life and death of creation to end up witnessing that light is given to us by art, that means, the word.
  • Size of the wall: 161 m width x 4 height
  • Plastic paint and enamel on prefab concrete and steel
  • Made during Kufa's Urban Art Fest, organized by Kulturfabrik
  • Thanks to Renné Penning, Fred Entringer, Maëlle Lepetit and all the team at Kulturfabrik for their commitment to promote culture all over the city of Esch
  • Execution team: Irene García
  • Photos by Boa Mistura


Halle Neustadt, Germany
Halle-Neustadt was born as a self-suficient solution for satisfying all the needings of the new working class. It was not conceived to be a utopia itself, but it followed some utopic socialism system guidelines. Nevertheless, the system’s deep flaws reflect that utopias may work theoretically. But in a panoramic view, they depend on many circumstances capable of unbalance any delicately designed plan.

The word “UTOPIE” speaks about the intention to guarantee all the commodities to maximize productivity. It reflects the city’s identity, which is currently building a sustainable future, not forgetting its roots.
Halle is a city located in Sajonia-Anhalt state, on the banks of the Saale river. It was part of the German Democratic Republic (GDR) between 1949 and 1990.
In 1958, the GDR socialist government developed a plan to increase chemical production in the area. For this purpose, they began the integral project for building Halle-Neustadt, the “chemical workers socialist city.”

The architect Richard Paulick, a son of the Bauhaus where he worked closely with Walter Gropius, was hired to design the project.
The Halle-Neustadt urban planning model is a close relative of the utopic socialism by Owen, Fourier, or Cabet, which was later rethought by Le Corbusier and developed by architecture schools, like the Bauhaus.

The city is composed of carefully arranged, enormous prefab concrete beehives (like Block 10, the largest housing complex in Germany). A new town, autonomous, built out of nothing, design to hosting more than 90.000 inhabitants.

Nevertheless, the collapse of the Soviet Union in 1990 led to a dramatic increase in unemployment. Halle became a shrinking city, reducing its population to more than a half in just two decades.
The space chosen by Freiraum Gallerie is based on the strategy thought by a committee made up of artists, architects, and urban planners from the city. It aims to connect two significant city areas through the intervention on the ramp access to Neustadter Passage. For this purpose, they carry out several surveys to get some insight and different opinions from the Halle Neustadt neighbors. They shared the results with us to develop the concept design. We aimed to make a complete intervention on the area, focusing primarily on the ramp, an essential element of this complex space.
We approach such a complex space by unfolding it, turning it into a more simple, flat, and abstract canvas. Then, we write three times the word “UTOPIE” and place it on the canvas. The word rotates as the canvas unfolds. We propose to apply a geometric transparency effect, which chromatic interactions refer to some of the city’s significant works of public art, such as the murals by Josep Renau or the masonry walls of many of the block’s façades. Once the word is placed on the canvas, we fold it back, creating a composition of typographic elements. The work turns almost abstract, unreadable but acts as a new skin by wrapping the space uniformly, flattening it, and generating new rhythmic patterns resulting from the different typography anatomy parts. The painting slightly changes when walking up and down the ramp giving access to the Neüstadter Passage.

  • 610 m2 intervention
  • Plastic paint over cement and water based poli urethane on concrete
  • It is part of the Wall and Space project, commissioned and produced by Freiraum Gallerie, with support from the City of Halle
  • Thanks to all the Freiraum Gallerie crew, especially to Danilo Halle, Philip, Ina
  • Execution team: Irene García, Javier Ballesteros, Jan Lütgert
  • Studio support: Alba Sánchez, Clara González
  • Photos by Boa Mistura, Danilo Halle and Readys


Paris, France. 2020
This intervention at Place Charles de Monselet in the 19th arrondissement of Paris belongs to the art residency program Bien-Venue, carried out by Le CentQuatre cultural center.

The objective is to develop public and participatory art and cultural programs in the 19th arrondissement, a decentralized district with less priority for the administration.

We write the word “Rencontre” (meeting) because it represents squares as elements of social cohesion and reflects a neighborhood whose main characteristic is its socio-cultural diversity.

Besides, the unique temporal context in which we executed the work strengthens the chosen word. We traveled to Paris amidst a global pandemic, with rigorous health controls which did not allow us to make the participatory process. As a result, only a few neighbors and students collaborated, bringing out the social need for working together to overcome these situations.
Paris' 19th district is located on the northeast side of the city. It is a quiet residential area. Its main feature is the multicultural side, with French, Portuguese, and North Africans living together.

Charles de Monselet square is in the merge of Boulevard D'Algerie and Boulevard Sérurier. The chosen wall faces the plaza's east side and is highly visible from the Avenue de la Porte du Pré Saint-Gervais and the Robert-Debré child Hospital.

This small square is mainly a crossing point for the neighbors who catch the tram next to the square. However, it also represents a
meeting point for different generations. Children use the playground; youngsters hang out on the afternoons, and elder plays pétanque.
We carry out the design process by giving workshops with different neighbor collectives. For example, in the schools Romainville and Eugénie Cotton, we conducted surveys and drawing activities. On the other hand, we proposed a neighbor meeting at the L'Accorderie, where we had an exciting discussion and brainstorming looking for words.

We found the word RENCONTRE to portray the time and place in which the work is executed.
We write the word three times to create chromatic and geometric rhythms along the wall.
  • 51 m width x 3 m height intervention
  • Plastic paint and waterbased enamel on limestone and metal wall
  • Project developed in the frame of Bien-Venue Art residencies by Le Centquatre Cultural Center
  • Thanks to all the 19th arrondisement neighbors and the students from Romainville and Eugéne Cotton schools, for taking part on the proect
  • Thanks to José Manuel Gonçálves for trusting in us
  • Thanks to Clara Chalou, Delphine Marcadet, Sonia Khiter, Elsa Lemesle and Celia for their neat production
  • To Anne-Flore Cabanis and Jann Vormann for their amazing company
  • Studio support: Maria Vadell and Alba Sánchez
  • Execution team: María Corrales and Irene García
  • Photography by Boa Mistura and Quentin Chevrier


Madrid, España. 2020
A shelter is a place to look for protection and security, a refuge from outside’s hostility.
We propose to transform this forgotten transit area by changing its meaning using color and typography.
The word REFUGIO (SHELTER) surrounds the crossing pedestrians under the shadow of this bus station on their way to the plaza above.
We deal with a very complex space made up of many walls, windows, and a ceiling that darkens the entire area.
This civil engineer structure also has several pillars and beams, which take away any trace of identity from the space. But at the same time, they are the differential aspect from any other type of workspace.
We work by tripling the word "REFUGIO" and overlapping its three colors. The transparency combinations create six color shades that rhythmically repeat thanks to the vertical proportions of Sudtipos type foundry's Fixture typeface.

The rhythm is broken by each characters' singularities, such as the R leg, the G crossbar, or the F or E arms.
We intend to create an abstract color space that comes straight from something specific as a word. Then, we try to wrap and clean the station for the pedestrians to immerse in the work. For this purpose, we unfold the structure and omit the tridimensionality, reducing it to a single flat canvas where we write the word. Then we "fold it" back again. When analyzed separately, the ceiling and the walls become one abstract skin based on color stripes which provide light and color to the area. By working with the unfolded architecture, we can work on walls and ceiling by applying the word literally: to create a shelter using the word shelter.

  • Total intervention: approximately 2.250 m2
  • Plastic paint on concrete and granite tiles
  • Project developed thanks to Concejalía de Desarrollo Urbano Sostenible and Distrito Centro de Ayuntamiento de Fuenlabrada
  • Thanks to Marta Nieto Varela and Eva María Vega Sevilla for trusting in our work
  • Studio support: María Corrales
  • Execution team: Irene García, Javier Ballesteros, Mark Zimmerman, Pablo Velasco, Darío Ariso and Miguel Cabrales
  • photography by Boa Mistura


Bouillargues, France
This mural belongs to the “Harmonies” series. It is in Bouillargues, a small town at the Southeast of Nimes, Francia. “Avenir” represents the future which the young generations from this public high school represent to the town. As well as the initiative by all the educational team for making alternative activities that empower and encourage the youngsters.
On January the 5th, 2020, we received an email from Dolores Corzo, the Spanish course teacher at Les Fontaines School in Bouillargues, a small village close to the city of Nimes, in France.

The text was a simple Spanish composition exercise in which they asked us to “come and decorate the high school.”

A year after our positive reply, we found ourselves painting a mural at the school’s main entrance in which the 30 3éme LCE Spanish students who wrote the email took part in the concept design.

We made a concept design workshop where we taught how to draw letters and look for appropriate words for the mural. This way, they got to understand all the work behind the mural.

As a result of the workshop, we chose the word AVENIR (future), and then we designed it as a part of the “Harmonies series.” Finally, we set a transparency effect on the letters creating complex color harmonies.

  • Mural size approximate: 18 m2
  • Plastic paint on cement
  • Thanks to all the students and educational team from the Les Fontaines Middle School for the warm welcome, specially to Dolores Corzo, for her amazing initiative
  • Executuon team: Irene García, María Corrales
  • Photos by Boa Mistura


Nairobi, Kenia. 2016
Kibera, Nairobi. It is considered the biggest urban slum in Africa, where 1 million inhabitants struggle everyday with a very tough reality.
This project is a reflexion of the strength that all the neighbors show everyday. A tribute to the smile, optimism and determination from every woman and man, to go on with their lives despite the hard conditions. Kibera is after all, a united community.
Kibera means woods and before in the XX century it was a field near Nairobi. The first impact is overwhelming: stench, stagnant water, plastic mountains, animals eating from the trash, houses made up by enticing you can imagine, trenches but most of all mud.
Once you overcome the impact, you discover a totally different universe. A cohesive community, creative and alive. With so much force within it, that looks at life with their eyes quite open, teaching the young that spirit of survival that we haven’t seen elsewhere.
The best way to describe Kibera is by describing the children’s smiles and the way the shout «MZUNGU, MUZUNGU» (white man in Swahili) every time they see you.
The Leso or Khanga is a type of cloth that women use in all of the east of Africa. Within its print, there is always a text that sends a message that accompanies you day by day. Women choose the fabric because of its colors, but especially because of the message.
There was not a better tribute to all of Kibera´s inhabitants than to dress up AMREF´s hospital with this leso that says SISI NI MASHUJAA, witch means WE ARE HEROES in Swahili.
We have worked over the 6 containers from AMREF hospital at the Laini Saba ground. The only kind of «Open Park” at the township. A space of 2.500m/2 in witch every day thousands of people walk passing through or to play football or turning into a market or the play ground of the three schools that are near it. 
It is the greatest witness of the life in Kibera and probably the only public space that could be called square.
  • 100m2 of mural executed over the containers of the AMREF hospital in the Laini Saba ground at Kibera
  • Synthetic enamel on corrugated sheet metal
  • The Project has being possible thanks to the healp of «GHETTO YOUTH FOCUS FOUNDATION» GYFFMADE IN KIBERAKUBUKA MÁS POR ELLOS and the support of RENAULT
  • Thanking specially to Geoffrey, Phlexible, Simon aka Twaani, Coco Tea, Cleophas, Denise, and Warrá for being our guardian angels in the slum. To Andrea, Luis, Carra, Miriam, Raffi, Álvaro and Jose Luis for being our family in Kibera
  • Thanks to all the community of Kibera for inspiring us and make us remember the true values in life
  • Photography by Boa Mistura


Pepillo Salcedo, Dominican Republic. 2019
Art can be a great channel to transmit environment conservation values and raise conscience about the importance of preserving the natural heritage.
This project is carried out over 52 fishermen boats, currently anchored in the mangrove of Manzanillo bay, in the province of Montecristi, in the Dominican Republic.
It is a landscape work that changes the appearance of the mangrove. Through the color, the boats are turned into another species in the ecosystem.
The province of Montecristi is located at the northeast of the Dominican Republic, right on the border with Haiti. It is a unique natural enclave with the largest extension wetland ecosystem in the country.

Right next to the Atlantic Ocean, and the Masacre river, at the end of the province, we find Pepillo Salcedo. It is a very small community, whose biodiversity richness makes fishing the main economy in the town.
And it is precisely there, at the border of the mangrove, the spot called Estero Balsa, in a really precarious area. That’s the small local pier, where all the old boats are anchored, waiting for the fishermen to go out and fish during the night.
The project has a double objective:
On the one hand, to improve the conditions of the precarious boats through a collaborative process that incorporates the fishermen themselves in their restoration.

On the other, to generate a new identity linked to raising awareness with respect to marine biodiversity, which is so badly hit in this area and on whose balance the region's economy depends. Focusing especially on the Parrotfish as a fundamental element in the Caribbean ecosystem.
We had the support from different associations for this project. Most precisely both fishermen association and mothers association, that were involved during the whole process and felt the project as their own.   We began our process by sharing with them the background and objectives of the project. We also discussed the schedule and made a calling for volunteers that might be interested in painting with us. As far as fishermen are concerned, we could also create the first attempt of the census of boats to be painted. The welcoming in both meetings was extraordinary.
  • Intervention over 52 fisher boats in the village of Pepillo Salcedo, at Manzanillo Bay, between January 16th and February 8th
  • Framed in the projectBiodiversidad Costera y Turismo. Funded by GEF (Global Environmental Facility), coordinated between Ministerio de Medio Ambiente y Recursos Naturales and the Ministerio de Turismo. The PNUD (Programa de las Naciones Unidas para el Desarrollo) is the project facilitator
  • Plastic paint for wood
  • We want to deeply thank Elia Mariel, Jonathan Delance and all the team at PNUD for their visionary way of working, an for taking a bet on innovation and development of more respectful and sustainable tourism
  • Thanks to Anatheydi and her tireless team at the project Biodiversidad Costera y Turismo, for their support and coordination
  • Thanks to the Association of Fishermen from Pepillo Salcedo, for sharing the true spirit of union and collectivity with us. And transmit us their strength and resilience
  • Thanks to the Association of Mothers from Pepillo Salcedo, especially to Rafaela Rodríguez Sarita, our favorite student, restless and fighter
  • Thanks to the Guardianes de la Bahía, for fighting for the future of Estero Balsa and their beautiful mangrove
  • Thanks to all the Pepillo Salcedo neighbors, for welcoming us and make us feel like true manzanilleros
  • Team Boa: Diego Vicente
  • Support at the studio: Pablo García Mena, Clara González, Irene García, Agustín Rodríguez
  • Photography by Fer Taranco, Dan Barreri, <Isern Cinema and Boa Mistura