Unlike framed paintings, murals face sun, rain, pollution, and temperature shifts every day. Over time, these forces weaken the paint surface.
Most murals that appear faded are not lost. The pigment is still there.
We stabilize and protect the existing paint — without repainting or changing the original work.
Anemos was founded by a working public muralist who spent over a decade studying murals in the wild — not just creating them. Watching surfaces lose density. Color flatten. Contrast disappear. Not abruptly, but predictably. Instead of accepting it as inevitable, he started asking whether it had to happen that way.
That question led to years of rigorous testing: across substrates, climates, and conditions — from Florida Keys humidity to Arizona desert heat to northern winters. The methodology that emerged is the foundation of every Anemos engagement.
In 2024, a 50'×12' mural sculpture he created entered the City of Dallas Permanent Public Art Collection — accepted into a program requiring a projected lifespan of 20 years or more. The system applied to that work is the same system we bring to every collection.
"Murals weren't failing. They were simply unmanaged over time."
Public art systems were built to create, install, and celebrate. Not to sustain. No maintenance protocol, no inspection schedule, no designated point of contact as environmental forces do their work. By the time a mural looks faded, the assumption is that it's gone. Often, it isn't. But without a clear path forward, cities repaint — and the original work is lost forever.
The gap isn't in the murals.
It's in what was never built around them.
In 2017, a South Florida municipality commissioned a large-scale mural by a world-class artist — a six-figure investment in a work meant to last. Six years later, environmental damage had set in. The city reached out to the artist, who quoted a six-figure repair. Cost-prohibitive, they painted it over instead.
A six-figure commission. A six-figure repair quote. Gone.
Stewardship costs the price of maintenance — not a new commission. The work stays. The community keeps what it invested in — and what it loves.
Every mural follows one of two trajectories. The difference isn't the mural — it's whether anyone intervenes. The earlier a mural is assessed, the more options are available. But if yours has been fading for years, it's worth a conversation before assuming the worst.
Every mural eventually needs attention — the only variable is when. An uncoated mural typically shows fading within a few years. A coated mural holds longer. A treated mural enters a managed maintenance cycle. The work stays. The clock keeps resetting.
The most meaningful shift Anemos introduces isn't technical — it's operational. Instead of waiting for murals to deteriorate past the point of return, cities can plan, budget, and manage their collections the way they manage any other civic asset.
Works from the portfolio of Jhonattan Arango / Art of Anón — founder, Anemos Art Preservation
Paint is pigment held in a binder. UV exposure and weathering degrade the binder first — the pigment often remains intact beneath the surface. A consolidant re-fuses paint layers at the molecular level, restoring vibrancy and stability without adding or altering anything. A protective coating is then applied to guard what's been treated. The results are immediate and visible.
Anemos is designed for clients who think beyond the commission — who have collections to protect, budgets to manage, and communities expecting the work to last. If you commissioned a mural, you have an asset worth maintaining.
Mural festivals concentrate a city's investment — multiple large-scale works, significant resources, and real public energy, all in a short window. They are also the ideal entry point for preservation. Anemos comes in immediately after completion, when paint is fresh and the city's commitment is highest.
For municipalities managing existing collections, we offer bundled assessment and treatment programs — inventorying your murals, identifying candidates, and applying the full preservation system in a single mobilization.
We work with municipal arts departments, public art organizations, mural festival organizers, corporate collections, universities, hospitals, and nonprofits — any organization with murals worth protecting.
Every engagement starts with an on-site assessment: condition documentation, treatment recommendations, and program pricing — for a single mural or an entire collection.
Assessment fees are credited in full if a treatment program proceeds. We serve clients nationally and respond to all inquiries within two business days.
Thank you — we'll be in touch within two business days to discuss your assessment.
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