Kafka EncodaQuin de la Mer
Fresco: lime putty, crushed marble, mineral pigments on Wood
Ready to hang
Signed on back
16 " h x 16 " w x 1.5 " d |1 lbs. 0 oz.
This piece is part of a portrait series. The background is made with many layers of color and burnishing. The detail image of Kafka and the concept of Code was conceived after many enjoyable hours reading the personal letters and essays written by Franz Kafka.
This artwork is made using a classical fresco technique composed of lime putty, mineral pigments, lime-based plaster, and crushed marble. The resulting surface and color are incredibly unique. The surface is smooth like polished stone, and the color changes with the light source. You will notice in the corner detail image the highly reflective quality of the surface. The depth and detail in the work are due to the many layered process exclusive to this ancient medium. Another notable quality is that all materials are “green” and of the earth. No artificial substance, ingredient, or varnish is used or applied. The shiny finish is the result of the friction applied during the burnishing process. Frescos are known for their durability. Although edges are somewhat fragile and can chip, the piece itself is incredibly strong. Ancient frescos have survived thousands of years and endured fire, water submersion, and war; existing today with only minor wear.
Two D-rings are attached to the back of panel. Hang directly from D-rings (not a wire). Edges are fragile. A float frame is recommended.
Indian Wells, California
Surrounded by artists and activists in San Francisco’s Mission district, Quin de la Mer creates conceptual, mixed-media artwork. She combines classical fresco techniques and contemporary abstraction to create what she calls “Modern Frescos.” Despite the many layers and textured appearance, the surface of each artwork is smooth and highly polished. As light reflects off the surface, each piece is in a constant state of change. Music is a crucial element to her work. Quin, a classically trained pianist, considers her frescos visual pieces of music. Just as music is composed of vibration of sound, her paintings are composed of vibrations of light.