Jhonattan Arango has spent over a decade painting large-scale public murals across the United States — from the Florida Keys to the Arizona desert, from Rockford to Cape Canaveral. Somewhere along the way, the question that wouldn't leave him wasn't about the next commission. It was about the ones already on the walls.
He watched murals fade. He saw cities struggle with what to do. He noticed that the infrastructure to protect public art simply didn't exist — not in any systematic way. So he started looking for one.
That search led to years of testing: studying how paint actually degrades, understanding the chemistry of binders and pigments, working with conservation specialists, and experimenting with professional-grade preservation systems on his own large-scale work across different climates and substrates. The result is Anemos — a methodology developed in the field and refined through practice.
Jhon holds a BFA in Graphic Design and served as a Hospital Corpsman in the U.S. Navy. He has been a grant panelist for the Houston Arts Alliance and has exhibited at Art Basel Miami. His public work has been commissioned by municipalities, public art organizations, and brand-conscious corporate clients across the country.
Every city I worked in, I watched the same thing happen. Murals would go up — beautiful, expensive, meaningful — and then slowly disappear. Not from neglect, exactly. From the absence of a system.
Anemos exists because that gap is real, the problem is solvable, and the cost of doing nothing — in dollars, in culture, in original work lost — is too high to ignore.
The Anemos preservation system was developed through direct observation of how murals actually fail — and what it takes to stop it. That means understanding not just the chemistry of paint, but the variables of climate, substrate, prior coatings, and time.
Every mural is different. A mural painted in humid South Florida ages differently than one on a concrete wall in the Arizona desert. A surface that's been coated with polyurethane presents a different challenge than bare acrylic on EIFS. The assessment process is the methodology — reading each work on its own terms before anything else happens.
Anemos works in partnership with an established professional coatings manufacturer whose products are designed specifically for fine art mural preservation — not repurposed from other applications. The treatment system has been applied to large-scale works across a range of climates, substrates, and conditions.
The methodology has been tested in the field — not in ideal conditions, but in real ones. Coastal humidity, desert heat, northern cold, urban pollution. Each environment presents its own challenges. Each one has informed the practice.
Every engagement starts with a conversation. No obligations — just an honest assessment of what's possible.