DOLPHIN FRESCO  by iLia Anossov
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The two dolphins are depicted with a strong degree of realism. The dolphin in the fore ground is caught in the middle of a breach as it falls back toward the viewer. The second dolphin in the middle ground jumps toward the sky adding to the compositions’ overall feel of movement and action. The water splashes contrast the realism of the dolphins. The ocean splashes dramatically away from the dolphin but curls stylistically, bringing to mind influences of art deco. The foam on the waters surface seems to reference the dramatic movement of water in The Big Wave by Japanese artist Hokusai Katsuchika. A boarder of geometric spirals seems to echo the shapes of the walls below and adds a Mediterranean touch to the work.


Affresco ( In English usage, “fresco” ). Painting done on freshly laid wet plaster with pigments dissolved in lime water. As both dry they become completely integrated. Known as “true” fresco, this technique was most popular from the late thirteenth to the mid-sixteenth centuries. The common assumption that all mural painting is fresco painting is an erroneous idea. It is true that one can in fact paint on fresh plaster, or intonaco, to make a painting in affresco or a fresco. In true fresco the artist must start applying his colors on the wet (or fresco) intonaco as soon as it has been prepared and laid on the wall. The colors can thus be absorbed by the wet plaster. When it dries and hardens, the colors become one with plaster. Technically speaking the plaster does not “dry” but rather a chemical reaction occurs in which calcium carbonate is formed as a result of carbon dioxide from the air combining with the calcium hydrate in the wet plaster.

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Patrons - Gayle & Nick

Artist - iLia Anossov

Fresco Plasterer - Ian Hardwick

Andrew Brosseit

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