Feliciano Pop was born to a peasant family on the shores of Lake Atitlan, Guatemala. Pop discovered his vocation at an early age, learning to sculpt his first figures in pumice stone (coming from the lake) in elementary school. He was supported by Professor Rafael González, the first painter in San Pedro, who identified the young artist’s talents.

Pop has said that there is “no count” to how many sculptures he has made but his production focuses on the carving of animals, faces and masks, and the customs and experiences of the community he has served for nearly a century. Throughout his life Feliciano has noted a deep connection with saints and a spiritual life that has offered him protection, this influence is palpable in his works, with religious figures appearing often. 

Pop recounted a story from his youth and how it informed his practice: “The women went to wash their clothes in the lake. They left glass bottles with chewed tortillas inside the bottle, when fish entered, they could not exit. That is the way my grandparents fished, not like today.”

Feliciano obtained one of the fishing bottles. He introduced it into his artistic production by placing a note in the bottom of the bottle and next to it a little fish carved by him.

By 1980, Feliciano was the mayor of his small town and focused on building his community while continuing to work as an artist. The task was not always easy, refusing to be manipulated by outside interests, he was thrown in jail. He notes that, “jail is glory for the innocent, but hell if one is guilty.” 

It was during this experience that he began to use disposable materials. After his release, his anger fueled his expression and he began creating larger pieces such as a tank, skeletons, coffins, and a marimba made in stone. The last work had a particular resonance, as the national instrument of Guatemala was silenced.