Quin de la Mer is a Conceptual Artist based in California. She attained a Master of Fine Arts degree in Creative Inquiry, Interdisciplinary Arts from California Institute of Integral Studies in 2019. A lifetime of travel has become a way of life infused with flexibility and a love for gathering unfamiliar experiences inherent to her making process. She has experience exhibiting work nationally and internationally in gallery settings and public forums, attending artist in residence programs within the U.S. and abroad, and as featured artist in print and web magazines globally. She sells work through gallery representation. Her artworks reside in private and public permanent collections.
As a classically trained pianist, Quin became aware of the power of sound at an early age. As her fascination with vibration grew, she noticed its ability to defy walls, enduring beyond visible and invisible boundaries. Many years later, in Death Valley, in a space exceedingly silent, she witnessed the vibration of light. In this moment she evolved from musician to visual artist. Her wish was to work with a visual medium that would never stagnate. The fresco medium fulfilled this desire. Fresco is a technique of painting executed upon freshly laid lime-based plaster. Layers of lime paint and pigments merge with the plaster forming the completed fresco. A fresco changes throughout the day due to the alchemical process of the specific media. Uncontrollable fluctuations and natural transformations occur due to transitory lighting, reflection, and the vibratory rate of substance. Color and process create subtle abstract motion and momentarily captured elusive forms. The artwork evolves; a mutable spectrum within the confines of time.
Quin’s work is context based and grounded in site specific process. Her primary media are fresco painting and works on paper to include the experimental photographic process cyanotype and text as medium. Her portfolio encompasses works from many series making an interwoven narrative covering Norse cosmogony, misprized warriors, human perception of beauty and myth, and climate crisis as distillations of human history; a nested story swinging in the balance between invisible and visible forces and their impacts on existence. A complex set of ideas are the skeletal structure that shapes each narrative. Titles provide context, the primary indication of what the work is about. Abstraction puts the imagery beyond reason inviting the viewer to weave their own contemplation into the exchange. The practice of Artist as Nomad provides the background world for the visual narratives she creates. Quin experiences beauty as a warrior dispelling disparity, giving hope, providing understanding, instilling courage to act, and fueling desire to make change. She makes note of beauty that bleeds through the interstices of ordinary reality, spontaneously healing rips and tears, wounds and separations that devastate experience. Subscribing to the idea that art is not so much something to look at, but a means to look beyond what is seen, is the possibility for the artworks to lead the viewer on a meta-reflective journey.