Quin de la Mer is a mixed-media visual artist in San Francisco, CA. She is also a master fresco and plaster expert, work that provides a contextual lineage and foundation for her visual art. It is Quin’s intention to create transgressive work through the path of beauty. Her work has been exhibited in the United States at SF Women’s Gallery in San Francisco, the Funeral Gallery and the New Orleans Healing Center in New Orleans. Internationally she has exhibited in Athens, Greece at Panourgias, as well as being the featured artist with Blacklisted art magazine in Denmark, and online with All the Sins in the United Kingdom. She has been artist in residence in Athens and Leonidio Greece, Palm Desert, CA, and New Orleans, LA. She is represented online by UGallery.
Quin’s primary medium is fresco painting depicting abstract forms. She refers to her medium as “modern fresco”. Although the fresco medium has endured since antiquity, through experimentation with printmaking techniques her results are unique. A complex set of ideas inform her artmaking and using abstraction puts the imagery beyond reason. An aesthetic feeling awareness passes between the object and the viewer as an invisible connection and felt response. Naming is a particularly important aspect for Quin. The naming of a piece is the primary indication of what she has considered while making the work. The names are typically coded under a network of research intended to intrigue the audience into engaging in a hunt to discover the meaning behind the work.
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. She considers a fresco to be a visual piece of music. She explains the fresco medium as having incredible resiliency, capable of surviving thousands of years and disasters involving extreme temperatures, water, earth, and wind. Yet, a fresco changes throughout the day due to the alchemical process of the specific media. The result is a living product expressing change through its eternal and intimate relationship with light. 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.
An important part of Quin’s exploration of the relationship(s) between viewer and object involves her understanding of beauty as both elusively universal and relatively attached to how humans uniquely perceive reality. Beauty requires wisdom in the embrace of new perceptions. Quin is interested in the full spectrum of reality, much of which is difficult to describe because it is beyond human sensory capacity while being readily apparent to the artist. Traveling inside the material world, observing actions, reactions, and their aftermath, she finds tremendous human redundancy in the form of commitment to isolation, separation, intolerance, and fear. Still, most profound is the effect beauty has on the beholder. Quin notes the changes that occur when beauty makes contact and bleeds through the cracks, healing the rips and tears, separations and disconnections that devastate experience. She experiences beauty as a warrior dispelling disparity, giving hope, providing understanding, instilling courage to act, and fueling desire to make change.
Her approach resists containers that are not permeable. Through experimentation with expressions of impermanence and change she aims to uncover a deeper connection between viewer and object. One that continues beyond a single experience. She uses the practice of Artist as Nomad to fully embrace the cosmology of the wild which enables her to encounter the deep mysteries of the visible and invisible worlds that co-existence. Her observations on beauty as something that can be felt at great distance, and remembered, dissolving the ravages of time, makes beauty a form of magic that cannot be eradicated by human resolve. It is this field of palpable invisibility that is the essence within the work she produces.