Art Studio at Papagayo Park
Peninsula Papagayo art workshops provide residents and guests with direct access to Costa Rica's artistic heritage and contemporary practices.
As part of Peninsula Papagayo’s Cultural Program, the Art Studio at Papagayo Park plays a key role in bringing this vision of life–a creative space where contemporary techniques, artisanal methods and the peninsula's natural surroundings converge as sources of inspiration.
The studio operates four workshop strands throughout the week. Clayworks sessions range from functional ceramics and marine-inspired sculptural forms to Pre-Columbian techniques, whilst Creative Workshops cover printmaking, mixed media and illustration. Sip & Paint classes teach watercolour and acrylic fundamentals, including outdoor sessions and monthly Master Classes bring in guest artisans working with traditional practices such as natural dyeing, macramé and Boruca mask-making.
Lead Artist Mariana Jiménez Zúñiga, trained in visual art and graphic design before developing her own ceramic practice, guides and inspires participants through the studio’s daily programming. The program is strengthened by Art Studio Attendant Brandon Romero Castillo, who is from Guaitil and brings intimate knowledge of the region's indigenous ceramic techniques.
In conversation with MÍRAME Fine Art, Mariana reflects on her teaching approach and how the studio fosters meaningful connections between Guanacaste's artistic traditions, its natural environment and contemporary creative expression.
Mariana Jiménez Zúñiga in the workshop
MÍRAME: The Art Studio at Papagayo Park offers an impressive range of workshops - from Pre-Columbian Ceramics to Natural Dyes and Boruca Masks. What was the vision behind creating this program, and how did you design the classes to reflect Costa Rica's artistic heritage?
Mariana: All the classes, all the projects that are given in the classes are related to our environment—in cultural terms or in natural terms. For example, ceramics, which is the strongest workshop here since we have ceramics every day, reflects our nature but also the cultural heritage in Pre-Columbian ceramics and the techniques that we use, which are manual techniques.
In Oceanic Ceramics, the idea is to create something that people can take back to their homes with a memory of something that they saw here on the beach. But in my class, I teach them the pinching technique, which is the technique used by indigenous people. So, it's like a way to connect. Ceramics has been with humanity for 10,000 years. It's really intuitive to express, and it helps them connect with what they're doing.
The main idea with all the classes is that people have a great time—it helps them not be in their problems for a while and concentrate on their pieces, like a meditation, like an active meditation. I always tell them that art is therapy. It really is. And it's an active meditation. So at first, it's that. Then they get to know the materials, they learn new things—the basic techniques. And the third one is that all of that is integrated with what we can see here in Peninsula and in Guanacaste.
We have a book that I always show them in Pre-Columbian classes called Objects for Daily Rituals.
I explain to them about indigenous culture—ceramics is so important here in Guanacaste. So I try to connect all the things.
MÍRAME: You have a particular passion for pre-Columbian ceramics. Can you tell us about your background and what draws you to these ancient techniques?
Mariana: My career is plastic arts or visual arts with emphasis on graphic design. There, I got really inspired by iconography. For me, it's really interesting how indigenous people represent their environment, the things that were important to them, the animals that were like powerful animals for them—like jaguars, lizards, birds, eagles. They represent them in a simplified way, like in an iconography way, but they also add some details that are related to spirituality.
For example, spirals that have to do with cycles, some waves that have to do with the ocean. Animals that are combined—for example, a human that has a jaguar face or frog feet. That's really interesting because in that example it has to do with change. I think they don't only see an animal as just an animal, but all the power and all the change that you can have by watching and being inspired by those animals.
After that, I started to go to museums and learning about the history. It's very interesting how they represent things and how nowadays we have to rediscover all the things. It's a mystery for us. In the university, I got into a class called Pre-Columbian Ceramics. And that's where all the theory that I already loved unites—it joins with the practice.
As a Costa Rican artist that communicates things to other people, and as a graphic designer—which has to do 100% with communication—I feel like art here should talk about Costa Rica, the environment. I think it's really important for me to communicate that culture, not only with people here, like Costa Rican people (because I think we need more education on that topic), but also it's really cool to be here and to connect with people that come from mostly America but other countries, to get them to know through art, through their own hands, through the practice, our heritage and what is important for us—our nature. It's like a responsibility.
MÍRAME: The studio offers everything from two-hour workshops to full master classes with guest artisans. How do you approach teaching in a way that works for complete beginners and people with more experience?
Mariana: You have to adapt—I have to adapt myself to what people need or like. It's something that you see on the way. At first, what I do is introduce the technique, to the mindset that we have to have. Like, "Okay, this is just our first approach to the technique, so don't be hard on yourself. And also remember that if you want to continue, it's not the last piece you're going to make. It's our first piece." It's a journey.
Then I give a step-by-step guide. For example, what I do is teach how to make a base. And then I give them examples of pieces that have to do with Pre-Columbian ceramics—other pieces that I've made inspired by Pre-Columbian ceramics. We all make the same vase, but at the end, everyone has their own motifs. That's when everyone starts to express their interest, their way of making things.
MÍRAME: Many of your workshops, like Creatures of the Tide and Botanical Exploration, take inspiration directly from the Peninsula's natural environment. How does the location itself inform what you teach and how participants experience the process?
Mariana: Nature is always a subject of inspiration. I don't want to give classes just about making dogs, for example, or something that doesn't have to do with this place—but something that reminds them of this experience that they had here. For example, for botanical ceramics, we grab plants from here and imprint them in the ceramics.
For painting classes, we see some techniques and then a mini project related with flora. I show them flowers from here, tropical flowers. Because for me it doesn't have much sense like we are making apples or something that doesn't have to do with it. Sometimes when we have painted fruits, I try to connect with them through what they have here—like "What is your favorite fruit here?"
MÍRAME: For someone staying on the Peninsula who's never worked with clay or printmaking before, which workshop would you recommend as a starting point, and what can they expect to take away—both in terms of what they create and what they learn?
Mariana: For me, ceramics is a great starting point. Because it's very intuitive. It's like playing. When I teach kids, they don't follow all the rules—they just start exploring with the material. It's very entertaining. But also you connect very fast with the material. You concentrate and you forget about everything else. This contact with your own hands allows you that opportunity.
With painting classes it gets more technical. For example, watercolor—for me watercolor is the most difficult technique that we teach here. But what I try to do is the first hour, techniques that are easy, and then the second hour is a little more difficult.
Another class that is easy to follow and very playful is printmaking, to make artisanal stamps. That is something that people really like because it's easy. And you get this little stamp that you can take, and in your house you continue stamping on whatever you want. Continue the creative process.
The workshops offer a rare opportunity to engage with the Peninsula’s history and environment whilst learning about Costa Rica's Pre-Columbian artistic traditions from a passionate educator truly versed in the region's cultural heritage.
Whether you're drawn to working with ancient clay techniques or want to explore printmaking for the first time, The Art Studio’s rotating schedule presents new opportunities each month.
Advanced reservations are required—contact your concierge to reserve your place in an upcoming workshop or view the full schedule here.
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