it`s not too late! - Society of American Mosaic Artists

it's not
too late!
There's still time to register for SAMAs
2004 conference, Opus Veritas: Fra!,ments
ofTruth. lt's going to be fabulous - and even
more so if you help volunteer. Register online at wwwamericanmosaics.org.
Soviet-era mosaics combine ptopaganda and free explession
*,c"orrsHEyr//vDAVls
Woman weaving silk adoms a factory in
Margilan, Uzbekistan. Each square, 2'x2',
had mosaics applied. Then they were attached to a
metal
gid.
activities and theater arts are common. There are
also lots of local symbolic motifs standing alone
and integrated into other subject matter. Aftists
were encouraged to inc0rporate local tribal or
national symbols into their work. This is certainly
visible today. However, some Soviet symbols have
been defaced.
Most of the mosaics are monumental; for
example, a mosaic of a woman in traditional
costume covered the entire end wall of a 10 story
apartment building
I stumbled up0n an impressive array of
glass smalti, about an inch square and as thick,
a devastating earth
20th century mosaics during a month in
and slightly larger ceramic tile. Colored and dyed
quake in
Uzbekistan and Kyrgyzstan this summer.
rocks also were used. There doesn't seem to be
was almost totally
They were alive with color and rich with
any contemporary mosaic activity in Central Asia.
rebullt by construct-
tribal imagery and political symbols.
The materials are not produced locally and are
ion gangs provided
Sometimes mosaics covered an entire
too expensive to buy and ship into these poor
by the 15 Soviet
ili;^ 16,
d {^
^^i ^
uuiluil
rovoutr.
cou ntries.
republics.
h,
,
You might be familiar with the famous
lslamic mosaics within the UNESC0 World
Heritage sites in Samarkand, Bukhara, and
Kiva.These are beautifui and impressive in
scale. However, I was surprised t0 find so
many more-recent Soviet mosaics.
What little information I could learn
about the materials and process came
from a Kyrgyzstan artist. Materials for
the mosaics were ordered from other
c0untries in the Soviet bloc and delivered
t0 Central Asia.They c0nsisted mainly of
During the Communist era, many of the
1967. lt
The end walls of
mosaics were designed and installed by
the apartment
artist collectives, although there was usually
blocks contain
a lead artist who was responsible for design
regional geometric
and installation. Uzbekistan is a larger, more
symbols. Their
populous country, and I found more mosaics
installation is quite
there than in neighboring Kyrgyzstan. Mosaics in
crude, probably due
both countries are in disrepair and suffering from
to the size of the
the ravages of a harsh climate -- both extreme
mosaics. l\4ost are
heat and extreme cold.
set directly into
As one might expect, most of the mosaics'
in Tashkent. This city suffered
mY":?#"'?.':'i:;:.:i::,
mosaic in Tashkent.
mortar with minimal attempts at grouting. When
subject matter is realistic: workers united for
seen from a normal distance, though, the flaws
collective prosperity, wa r memorials, sportin g
aren't visible. (continued on pa1e B)
Syxan*In* mssaf*fs*s
nnds rs*ssd h*w ttt* eye w$rk&
luminance of the background, which emphasizes
the solid form of the head and provides a sense
of the direction of the light.
CHARLES HERBERT
This strong use of "counter-shading" is
The lssues faced by mosaicists 1500 years ago
eye of the individual artist. The different styles of
dramatic and lets the head stand out. 0n the left,
are still faced by computer-graphics designers:
the portraits do not appear to align with the same
a single dark line separates the gray-white hair
the challenge of using tesserae (for mosaics)
historical framework for the composition as a
from a light-blue background; on the right, the
and pixels (for computergraphics) to portray 3-
whole.
white hair becomes brightest at the junction with
D scenes on a flat surface. l\4y focus here is the
Four portraits illustrate styles from different
the dark-blue background.This provides a strong
evolution of designs and techniques developed
periods of history. They come from three 0f the
impression that the light source is on the rlght,
by Byzantine mosaic artists in the 4th and 5th
major Byzantine historical sites: Ravenna, ltaly,
which reinforces the shadow effect on the neck
centuries A.D. and their change in styles up to
and Athens and Thessaloniki in Greece.
and the nose. All of this helps "round" the head,
the 12th century.
Four Portraits:
which othenruise would look flat. With the head's
The mosaicists during the early Byzantine
Figure
I
shows the face of St. Priskos, from the
outline made clear by the contrast of colors, we
period showed great skill in depicting the human
4th-5th century A.D. lt is found in the rotunda
can focus on the detail of the head and ignore
form, even though they were limited by the
of an early Byzantine building
the background.
in Thessaloniki.
range of colors available in marble and glass. In
It is a "late antiquity" mosaic, where there are
addition, the lighting conditions in the basilicas
predominantly Greek and Roman classical
contour lines than 0n the integration of tesserae
and mausoleums were usually dim.
elements used within a set of rules set down by
to form a sudace. The subtle color gradient
the Church.There was more emphasis on color
and the interlocked, shaped tesserae provide
during this period.
shading, as well as the beard and hajr textures.
So what techniques did they utilize? The
common techniques of shading and strongly
Within the face there is less emphasis on
contrasting colors can be seen, as well as the
The mosalc artist has skillfully portrayed the
use of smaller tesserae to depict details in the
roundness of the face thr0ugh the shading of the
or five tesserae, arranged nearly vertically with
face and hands. In addition, marble tesserae
features and through the shadow on the neck to
triangular ends, the beard is distinctive from the
instead of glass are often used in the faces to
0ortray the shape of the chin and cheek, using
fle1h. Even though the eyes'formatlon is similar
more-accurately depict facial tones.
a subtle gradient in a llmited range of colors.
to Figure 1, it is the juxtaposition of the red
Overall, the design of the face is produced by the
tesserae around the nose and cheeks that, on
detail, the more I realized there must be other
linear composition of regular-shaped tesserae,
close inspection, makes the face look blotchy.
design secrets. Up close, the images become
arranged mainly in curved same-color contours,
But from a distance it gives color and warmth
less realistic than when seen from afar. In some
with relatively large spacing between each tessera.
to the face, which is aging gracefully. 0f all the
But the more I looked at the mosaics in
cases, the choice of colors seems strange.
There are also places where the artist attempts
By limiting the length of the contour lines to four
poftraits, this one appears most realistic. A
Through trial and error, it appears that the early
color-mixing by alternating two colors in a grid
variety of tesserae shapes, their apparent random
mosaicists understood a great deal about how
pattern.This is seen under the eyes and on the
positioning, the gradual change of color along
the human vision
works, and utilized this
sides of the mouth. From a distance, the col0r
contours, the blurrier use of color and the subtle
subtle knowledge
shading is smoothed. The use of shadow is
use of colored line boundaries let this portrait
in their designs.
noticeable along the side of the nose, along the
come alive. There are also many subconscious
Different
edges of each cheek and under the chin. The
clues that trick our visual perception to believe
historical stages
pale color scheme is limited to yellow, orange,
this image is three-dimensional.
of mosaic design
red, brown, and white. The features of the face
nave oeen
are left to the imagination; the striking elements
1
identified from
are the eyes and the colorful linear hair pattern 0f
this Medieval Byzantine period, following the
the point of
alternating colors. Overall, there is a simplicity to
lconoclasm 0f the gth century, there was a
view of overall
the design that evokes youthfulness.
refocus on classical art and sculpture, which
com position
Figure 4 is a detall of the medallion portrait
Figures 2 and 3 come from the same late
lth
century church near Athens, Greece. In
stressed "balanced rhythm" through the
and features, and these follow the political,
of St. Peter from 5th-6th century Ravenna. Clearly,
cultural, theological and scientific changes
it is a very different style. The design still shows a
that took place over the centuries. But I believe
classical form, but the tesserae are not uniform
appearance of the mosaics.There is now greater
that when one gets down to the detail of the
in size or shape; even though there is a limited
emphasis on a linear form that, in the case of the
portralt, much of the design, style and method
palette, each color has a range of light and dark.
prophet in Figure 3 (reinterpreted to resemble
of implementation are linked to the hand and
The latter has been used to adjust the color and
the Greek god Zeus), is similar to a line-drawing
harmonies of line and color.
This style has a dramatic impact on the
spacings between tesserae.
0r can00n.
With regard to col0r, the hair and beard are
from a distance in dim light. In fact, our brain does
The most striking aspect of this ponrait is the
not concentrate on the actual color or 'hue' used,
most prominent through the use of curved lines
strong and bright color: black, gray, red, dark green
but is more interested in the luminance value (the
of two{one colors and dark borders. Our visual
and blue. The beard is made from sky-blue and
level of gray between black and white) in order to
system is very sensitive to strong contours; thus
dark green tesserae. This mosaic of the prophet is
perceive the flowing beard as part of the portrait.
line drawings can be an excellent representation
positioned high on the side-walls of the dome of
From a distance, our visual system will substitute
of reality, even though there are few line drawings
the monastery. Under dim lighting conditions, 0ur
the correct color in its interpretation of a beard. lf
on real life objects. In this mosaic. there is less
visual perception interprets colors differently; reds
this theory is correct, then the mosaic aftists truly
emphasis on the regularity of the size and shape
becoming darker and blues becoming brighter.
were masters.
of the tesserae; also, there are relatively
Based 0n this theory, I think that the blues and
large
FiElure 7: St. Priskos, ftom the zone of the
martyrs, rotunda of Hagios Geo/gios, ( th-sth
greens are selected so as to be seen more clearly
female portrait in Figure 2, there also are major
Fi(ure 2:
differences in styles even though they are supposed to
C),
Thessaloniki, Greece. From a photugrcph by S.
Chaidemenos, "Greek Art - Byzantine Mosaics,"
Nano Chatzidakis. ISBN 9602733747.
lf we compare the prophet in Figure 3 to the
Female attendant in "The Birth of the
Viryin," in the nave of Daphni Monastety, near
Athens. From a photograph by N. Kondos; ibid.
be from the same period. Figure 2 was intended to be
seen from a closer distance.Therefore there is more
emphasis on the smooth appearance ofthe face.
There is an interesting interplay of the blending
of colors and the "opposing" of colors. The hair and
associated jewelry band are set in strong opposing
colors, whereas the face consists of a close
gradient of flesh tones.
This face is a wonderful example of how the
shape can be produced through "flowing" contours
of tesserae. The artist must have engaged in
thoughtful experimentation to plan these complex
sets of lines. Upon close inspection ofthe evenly
sized square-shaped tesserae, one can identiry two
techniques. In Figure 2, although there are curved
lines of tesserae, they do not end abruptly at a
boundary. Rather, they appear to merge at their ends
and split into many to expand the size and shape of
the surface. This technique, together with the subtle
color shading, helps present curved surfaces, as can
be seen in the cheeks on the left side.
The second technique, also in the cheek, merges
two sets of colors using the outline of "interlocking
fingersl'The intentional use of shapes to mix the
ruddy color of the cheek with the paler skin tone,
enables the two "close" colors to truly blend, rather
than having our eyes detect a boundary between
the two colors.The third color mixing technique
(sawtooth or dovetail design) identified in Figure
I
ls used near the ear to introduce the shadow
through the gentle mixing of neighboring colors. In
this portrait, outlines used for shading or shadows
are made in warm, non-contrasting colors. Overall,
the image of the faces in Figures 2 and 3 are less
realistlc and more stylistically formalized.
Through close study and comparison, we all
Figure 3:
Prophet from the dome of the Daphni
Monastery. Photog,raph hy author.
Figlure 4: Apostle Peter, Chapel of the
Archiepiscopal Museum, Ravenna. From
Ediz. Casa del Tabaccaio - Ravenna.
can learn from these master aftists of Byzantine
a postcafi,
mosaics. I would appreciate any comments that you
may have, as I hope to contlnue in my research. 3
When The Falls shopping mall in South Miami, FL, approached me in April, I was happy
to bid on creating
a
mosaic wall.
The facilities director, Michael, showed me the site. I took photos, measured the area and walked through
the mall, landscaped with waterfalls and lush tropical foliage.
Michael asked for a preliminary bid, beforc the desigyr phase, to establish the budget He said
Asxmf*$?y
sfs
fiatfie
mall would
use tfr.s mosaic for maftetjng, offering my wok excellent exposurc. ClienB often mention this before | $lre them a
price.
fuosure
is
importan[ but an artist has to weigh
its r,alue
aginstthe
rcality of payinghe rent
My work is priced on square footage, materials and design difficulty (time). A mosaic of hand-cut marble
tesserae and smalti requires more time than one made with
tiles.
Hand-cut glass is somewhere in between.
The costs of the materials speak for themselves.
ffs$??#px$ssgss?
I
e-mailed the preliminary bid, including the option to embellish the entire surface or exclude some
portions. lt was important to include the entire area, but I did not want to lose
GINA HUBLER
the project because of price.
Our next meetjng, three weeK later, in mid-June, included the general
manager and the mad<eting director. We discussed the design concept, and
I
presented a contract. We scheduled installation about 12 weeks after design
approlal.lhe general manager was clear that she wanted the design to be
mine; still, she wanted to be an integral part of the process.
We discussed
colon and the ovemll feel
of the location.lhe area
that
would fmme the mosaic was the focal point of the complex and features a
fountain. A temporary stage is also set on the fountain for entertainers.They
wanted the mosaicb colots to be strong enough to hold their own in an area with tropical foliage.
My first designs emulated the atrnosphere of the complex. I used the
theme of a river with indigenous tropical birds and plants. I overlaid three
color-design options above a drawing of the project area. I also brought samples of the glass colors.
In tlre subsequent meeting the general manager and marketing director asked for a purely abstract desiffr,
instead. From a Straphic-arts standpoint, I undestood their view
I created two
simple abstract designs with colorwaves. We all agreed that"Palm
Sunset" really stood out. Ihe neK step was to send a presentation, including both
dmwings and a $ass sample board, to the architects. A few weeks later, they too, had
ageed upon "Palm Sunset'
We all met in late August on site and I presented an actual section of the mosaic.
Everyone was pleased with the design and glass. We spoke about weatherproofing the
wall and fmming in the sides with aluminum strips. Ihe final contract was signed, and
I
was on my way to fabrication.
lcreatedafull-scalepaperpatternofthewall.
ltwasanoddshape,situatedonan
incline. One side was almost a foot taller.
I cut glass
as it arrived in mid-September and set the initial installation for early
November. One of the glass colots specified was not in stock anywhere in the United
States, and the factory was late in running it. When I finally received it in mid-October,
there was too much white in its wispy pattern. We had a problem.
I met with the directors, and we discussed the logistics of the installation date, which
had to coordinate with the holidays. I also had booked an ltalian tour and couldn't ask
my clients to reschedule. We agreed to install in early December, using the event as an
"artist at work" show. I set the mosaic in an indirect technique in my studio untjl I left in
November. lt would be almost ready to install when returned.
When I got back from ltaly, I was Etreeted by Michael s message saying that the
installation had to be postponed, due to weatherproofing ttre wall. We agreed to start
installation in early January.
Ihe instaliation took four days
-
two days for setting the puZe- like sections of the
mosaic and two for grouting and touch-up. lt was interesting to work in the middle of the
mall
- people often asked me questions
while I was up to my elbows in cement
lhe
compliments were delightful, and the Falls staffs enthusiasm and flexibility made the
installation much easier. Whew!
Enduring tributes to hero of Hawaii, creative spirit
KAREN LUCAS
Alohal My mosaics in Kalaupapa on the island of
died she asked to be wheeled out to the mosaic,
Mother Marianne. Sister Dativa added a stone
Molokai, Hawaii got their start when I began doing
where she glued down a tile.
she brought from Assisi, ltaly and put it near
broken-tile mosaic as an aft therapist for Hospice
The mosaic gave patients a chance to
Mother Marianne s
foot.
In the Damien mosaic,
participate in a bigger picture. 0ne of the sisters,
I incorporated pot shards that I found at the old
Sister Dorothy, has taken a deeper interest in
dump in Kalaupapa. The Brother Dutton mosaic,
the Sisters of the Sacred Hearts order in Kaimuki,
the works. She has initiated mosaic projects in
which
near Diamond Head. One nurse thoughtthat
churches and chapels internationally.
shards from the dump.They are little pieces of
Hawaii.
We had several patients at the infirmary for
After we finished "Our Lady of Peacel Sister
things were just too quiet over there. She asked
is
currently in progress, is almost entirely
personal history.
My mosaics take on greater meaning as
me t0 do an art activity with the patients, saying,
Dorotfry asked what our next mosaic should be.
"lt can't be any kindergarten stuff; they're retired
suggested Father Damien, since he is a hero in
they age. So many of the people involved with
school teachers, after alll'
Hawaii. Litfle did I know that Father Damien was
them have died. But I still have evidence oftheir
I immediately thought of broken-tjle mosaic. The
also of the Sacred Hearts Order. The sisters were
creative spirit.
Sisters of Sacred Hearts 0rder understood mosaics,
excited and decided that before I could design a
I
as they had all seen the beautiful work in churches ln
Damien mosaic I would have to walk in his footsteps.
Europe, where many of them grew up.
They ananged for me to visit the Hansen s disease
Ihough I had
never done a broken-tile mosaic,
I
drew a large cartoon of the religious orde/s emblem,
Our l-ady of Peace
-
which depicted Mary with Baby
Jesus and a palm ftond
-
on a piece of plywood.
then $ued down pieces of tile.
It was a hit. The Sisters would sit in the
couftyard t0 watch the patients work. Some
helped. Others contributed comments and
I
(leprosy) settlement where Father Damien ministered
to the sick until he died in 1889.
That is how I fitst went to Kalaupapa.Ihere, I met
Sister Dativa, a Franciscan nun, working as a nurse.
She invited me to create a mosaic of St. Fmncis.
I have created mosaics in Kalaupapa and
atthe
Sacred Hearts infirmary on Oahu for six years.
I like t0 involve people in these mosaics. The
suggestions. One of the patients was not well
patients and community of Kalaupapa created
enough to join us much, but shortly before she
the mosaic flowers that sunound St. Francis and
THURSDAY, JANUARY
SCH EDU LE
Registration
8-4
Workshops
Holiday lnn Select Downtown
Chlnese Cultural Center (CCC)
9-4
/rtlsfs
Mini-demos
Lunch
Mini-demos
9-t2
Studlos
Holiday lnn - CCC
Holiday lnn box lunch or off-site
Holiday lnn - CCC
l-4
Museo ltaloAmericano
Meet the artists
5:30-7
7-S
Museo ltaloAmericano
Reception & Awards
Remember to bring your Members' Choice Ballot (in your Neck Wallet) so you can vote on your
favorite mosaic!
t2-l
FRIDAY, IANUARY
Annual meeting
Registration
SAMA's annual membership meeting will
SAMA Membership
be held from 9:3O-11:30 a.m. Friday,
t
2
3
Vendor Exhibit
Jan. 30 in the Chinese Cultural Center
Auditorium in the Holiday lnn Select, 750
Kearny St., San Francisco. All current
29
Lunch
30
Mtg.
8-4
9:30-11:30
11:30'1
Presentation
Presentation
Presentation
L-2
2:15-3:15
3:30-4:30
4t30-7
Booksigning & Reception 6-7:30
Holiday lnn - CCC
Holiday lnn - CCC
Holiday lnn box lunch or off-site
San Franclsco Artists
Community Mosalcs
Lucio )rsoni
Bay and City View Rooms, 4th floor
Holiday lnn - Benton's Lounge,2nd floor
members are welcome.
SATURDAY JANUARY 37
The nominations for board vacancies are as
follows:
ROBIN BRETT, of Pleasanton, CA., from
advisory board to board of trustees.
MAXINE GARDNER, of Huntington Woods, Ml.,
from board of trustees to advisory board.
DAWNMARIE ZlivllvlERMAN, of Ligionier, PA., to
board of trustees.
9-11:30
Registration
Exhibit
9-r2
Tesserae Exchange ll
L2-t
Lunch
1,-2
Presentation 4
2:15-3:15
Presentation 5
3:30-4:30
Presentation 6
Vendor
Member's Choice
Award 5-5:10
Drawing
Glosing Par$
Raffle
5:15-5:30
8-11
Holiday lnn - CCC
Bay and City View Rooms, 4th floor
Holiday lnn - CCC
Holiday lnn box lunch or off-site
lnternational Panel
Architects a nd Desi{ners
Mosaics as a Healing Art
Holiday lnn - CCC
Holiday lnn - CCC
Frjtz Fries, Ghiradelli Square
Conference volunteers needed!
lf you are planning to attend the 2004 SAMA conference ln San Francisco, we could use your
help! Please volunteer.We need you to help make OpusVeritas the amazing event ltb shaping up
to be-Volunteering is a great way to meet people, network and contribute to fhe success of the
conference - not to mention good karma! Help us with registration, SAMA sa/es, the closing party
and many other duties. lf you can donate at least two hours, contact Jennifer lams Mccuire at
jen@mastercaddesigns.com or (530) 27 1'7038.
Conf
erence sponsors
'TWASTHE NIGHT BEFORE
tratefully acknowledge the support of
the followin! Conference Sponsors. IherT
We
THE DEADLINE
(with apologres to Major Henry Livingston, Jr.)
generous donations
total $27,800!
Twas the ni{ht before deadline,
And all through the house,
There was shaking and stirring
To get that dant envelope out!
TileCreator Soltware
Conference sponsor
IRE/VD USA
Ihe tesserae have been placed
An the substrate with care
In hopes that the judging
Would be oh so fair!
Catalog sponsor
Robbi
& Kirk Cooper
Tote bag sponsor
BBC Laboratories, lnc.
On
(Vicki Bess)
Vitreous! On Dichroic!
lridium!
On Glazed and
Presentation sponsor
On Smalti! On Starned G/ass/
Dang, I should have used obsidian!
Wits End Mosaics
Name wallet sponsor
The dreaded photos have been
taken
mosaicartistsorg
And worried to death
About qualig and detail;
Time to let out that hreath!
Book signing reception sponsor
Sante Fe Desitn Studio (Eric Rattan)
Postcard sponsor
And now what on my unflazed
ceramlc
Doorstep should appear?
But the Fedex man waitinE;
"ls thatthatyour entry, my dear?"
Smalti.com
Workshop sponsor
Mosaic-tile.com
take it!" I cried,
Weldbonded fin(ers shaking in fear,
"lts the best that I can do
For SAMA this year!"
"Go on
Workshop sponsor
MosaicSmalti.com
Hospitality sponsor
Nancie l\4ills Pipgras is a mosaic artist who nips
Stained Glass Warehouse
Closing night party sponsor
(and qulps) in Sacramento, CA
WeldBond Glue
Afternoon mini-demo sponsor
Monster Mosaics
Workshop sponsor
SAMA
jfficers
President - Sonia King
Vice-president
-
Advisory
Board
Allyson Way Hank
Robin Brett
JoAnn Locktov
Secretary - Heather Crist
Nancy Wittels
Treasurer - Susan Jeffreys
GroutlineEditors NancyAncrum
Board of Directors NancyAncrum
Geolge Fishman
JeanAnn Dabb
George Fishman
Maxine Gardner
Susan LiYingston
Edc Rattan
Sarah Zirkel
Groutline
Designer
Nancy Ross
SOVIET
Mosaic musicians, in rclief, on a theater
facade.
(contrnued from front page)
license of expression. All of the local
people I met, except for the artist, were
surprised at my interest in their mosaics.
It seems as if local mosaics are not really
Q, Why does my grout recede, instead of
beint level with the mosaic surface? Am
I wipin(,too deeply? I had to re-grout one
piece because my finters were catchin$
on tlre edges of the sharp tiles.
A, The defect you describe is
symptomatic of wipin(, too soon after
application, when the grout is still very
sofit Also, wider f,rout joints arc more
susceptible to beingjwiped too deeply
than arc tighter joints.
Wait longer and use a harely damp
sponge or rag. Addint moisture to
the grout with a wet sponge causes
"washout." Some tile and mosaic
installers sprinkle the surface (if it's a
horizontal installation) with dry g,rout to
absorb surface moisture.Then they wait
a few minutes and wipe with a dry or
barely damp rc$.The sand in the (1out
then arso acts as a scrubber to clean the
su;iaeeg of the 'iesseiae.
You will develop a feel for the Woper
consistency of the grout mix as well as
yow timing. Use a sgueegee, rubbered$ed gout float or even a hard-rubber
spatula to clean the mosaic surface
before sponge wiping,.This will reduce the
amount of added water and help assure
that the Eyout has filled all the voids.
regarded as art.
Still, if you want to visit a country
where beautiful modern mosaics may be
just around the corner from those of the
14tn
or 15'n century, Uzbekistan ls the
place to gol
Smalti design, at least 30 leet tall, on
a Tashkent office huildin!,.
Art Nouveau lifes.'
in Art Nouveau, the
See more than 300 decorative tiles from a noted private collection. The exhibit reflects the wide range of expression
firsttruly modern decorative arts style.Atthe ErieArt Museum,411 State St., Erie, PA.Through Feb.8,2004.Visit
www.erieartmuseum.orglExhibits/currentexhibity'artnu.htm. (CourtesyTile Heritage Foundation")
AIMC Symposium Update:The International Association 0f Contemporary Mosaicists biennial five-day symposium is planned for
early October in Melbourne,Australia.Though architectuml mosaics will be emphasized, other presentation topics will include mosaics in landscape;
education/therapy, restoratjon, consen/ation, techniques and materials.There will be a special poster exhibition, "Mosaic in Architecture and Urban
Environmenf'that will run pamllel to the geneml exposition of posters and mosaic art works. AIMC President Manfred Hoehn says that the goal of this
second poster exhibitjon
is
to show architecb and city planners the wide applications of contemporary mosaic in architecture. He hopes to stimulate their
creativity and encourage them to include mosaics in their planning. Go to www.aimcinternational.com
file
HeritaSe Foundation Website;
The Tile Heritage Foundation,
for more information.
founded by SAMA members Sheila Menzies and Joseph Taylor
in
1987, is dedicated to "promoting an awareness and appreciation of ceramic surfaces in the United Statesl'The mission includes both research/
preservation of historic tile and the promotion of tile and mosaic artists. Exhibitions, conferences and workshops are organized periodically
around the country. Joe and Sheila were recently awarded the Carl V. Cesery Award, among the highest honors granted by American trade,
industry and professional groups, atthe centennialTile ContractorsAssociation of America meeting. Go toTHF's new web site www.tileheritage org
to learn more.
MOSAICARTISTSORG creates borderless source of information
ROBIN BRETT
Where can a mosaicist in lndia find a regional
promote and help sell members' work. This is a
source of glass tiles, while a Californian learns
real benefit for artists without web sites.
design tips for underwater mosaics and a
It's fabulous to be able to question another
classes, especially for aftists working in isolation.
'A wonderful synergy develops when lots
of artists at all levels congregate in one place
Canadian teacher finds students for her mosaic
aftlst and get their input on materials, techniques
to share ideas and techniquesj'says SAMA
classes?
and ideasj' says SAMA member Wendy Noel
president Sonia King ofTexas. "New aftlsts have
Frederick ofVermont. "lt has been an inspiration
a chance to learn proven, time-tested methods,
every day through mosaicartistsorg, an internet
to constantly see photos of everyone's newest
and the seasoned pros are rejuvenated through
list web site hosted on Yahoo! servers. Founded
creation and hear how it was achieved and even
the enthusiasm and creative energy of those just
in 2001, the group has grown to more than 1,300
get advice on the pitfallsl'
discovering the artl'
This kind of information exchange happens
members around the world, all of whom share
Members often experiment with new materials,
In addition to the immediacy and constant
their enjoyment of mosaic art. Membership is free
then report their findings to the group. Recent
flow of ideas, tips and inspiration, members
to any mosaic enthusiast, beginner or expert, with
reports have included a unique ceramic bonding
frequently cite the supportive and friendly
internet access. The group is moderated by SAMA
product, a pliableto-rigid material for creating
atmosphere that characterizes the group. a
members Robin Brett and Kimberly Hardee.
substrates, making gold-leaf tesserae and testing
quality too often lacking in internet discussion
a new, lightweight backerboard.
forums.
When you join, you can read and post
"l feel like we have our own R&D team within
messages, see photos and access files.
"l have learned so much about mosaicsj'says
(Nonmembers can read the five most recent
the group;' says Valerie Fuqua of lllinois. "l've been
Sandy Robertson ofAustralia, "but even more
messages.) Members can select how they wish to
encouraged to work outside my comfort zone
about enduring friendships and a common love of
receive mail, if at all, and unsubscribe at any time.
and create art that isn't within my usual style.
mosaics that seems to be grouting its way around
You cannot see the e-mail addresses of others
Oftentimes, I've been pleasantly surprised, and
the worldl'
on the site, and group privacy settings prevent
my mosaics have taken off in a new directionl'
messages from being accessed by search
engines. Yahoo! states
that it
Members have access to permanent files
archived on the site. They cover topics ranging
To
does not share or sell user
from copyright issues, the double-direct method,
http://gro
information.
using an agent, submitting to juried shows, setting
and create
Members post e-mail
up successful displays for craft fairs and locating
necessa ry.
messages on a variety of
hard-to-obtain tiles.
Even if you don't join the group, visit the gallery at
relevant topics that everyone
The group is a helpful adjunct
to books and
join, go to the group home page:
u
ps.ya hoo. com/grou p/ m osaicartistsorg
a
Yahool lD and password if
http ://www. mosa ica rtists.
o
rg
can read. Technical questions
usually are answered in a
matler of hours, if not minutes. Some post photos
of their latest mosaics and describe how they
were conceived and executed. Everyone benefits
from others' experiences. Twice-weekly I ive chats
are hosted on the slte by a member from New
York and another from New Zealand.
lvlosaicaftistsorg creates a monthly mosaic.
Mosaics are designed to interpret a particular
theme; this yeafs entries are displayed on the
site. In addition, the group has c0ntributed art
to charitable projects, sponsored an event for
SAMAs 2004 annual conference and recently
established an on-line mosaic art gallery to
ffi
Members ol
mosaicartistsorg take a
break.
BUSY, BUSY, BUSY!
Here's what some SAMA members have been up to:
ON EXHIBIT:
SAMA member Marcelo de
His
Melo has received considerable acknowledgement this fall.
work "Spiral Relief 7 -- 0n Canvas" has been se/ected for the 3rd International Youth
Mosaic Biennial "Citta di Ravenna" 2004. He was a/so in the 2002 show.
He is currently participating in a
AMPAE the regional assocr,ation
troup show in Curitiba, Brazil, the fourth organized by
of professional and amateur mosaicists. AMPAP has a new
website (in Portuguese) http:/ /www.mosaicodobrasil.or!.br
Most distinguished ls hrs inclusion in The Royal Glasgow lnstitute of the Fine Arts
exhibition. The RGI was founded in 7861 to encourage contemporary fine art. RGI
exhibitions sfiowcased most of the great artists of the late 79th and 20th century.
Competition is fierce.
Marcelo's se/ected wor& "Hereditary Rose" (shown at left), is the only mosaic in the
show.
lt
was first exhibited in his "Contextural" Exhibition in September 2003 in Edinburgh,
in which he was paired with a fabric artist. "Hereditary Rose" is inspired by a Brazilian
song about the Hiroshima bomb, reflecting on war, displaced lives and hereditary i//nesses
cause by radiation. The work has been published in a Brazilian art magazine (Mao na
Massa). Bravo, Marcelo.
Stephanie Jurs and Robert Stout, American SAMA members living in Ravenna, recently
NEW COMMISSIONS:
were awarded two major commissions. They will do a mosaic wall piece for the Heiser
iiaiurai seierices Cotrtpiexirr Sarasota, FL.They aiso v'iii create
a
28'- diarneier circle of
science-based ima{es for a library in )re{on. Robert describes the theme as "one of wind
patterns around the planet [and] Eas distribution in spiral-arm lalaxies;'The completed
mosaic pavement will be visible from the second- and third-floor
r
N
pRINT
:
The eagerly
readinf rooms.
anticipated volume that SAMA3 president, Sonia Kin!, has been (joyfully and
agonizingly) fashioningforthree years rs finally in print. MOSAIC Techniques & Traditions
(Sterling Publishin! Company) contains history, proiects and an international gallery.The
book will be reviewed in Groutline's sprin! edition. lt's available now from most bookse//ers,
and Sonia will be signing copies at a conference event in San Francisco, sponsored by the
mosaicarfistso rg newsgrou p.
OTHER PROJEGTS:
Co n gratu I atio
ns, Sonia.
From Ellen Stern: I did a mini-American Mosaic Proiect with my students at VSA Arts of
Michigan during the summer
lt
was like a quilting bee, basically. I lave each student
as many 4-7/2" squares as they had time for and used whatever tiles we received as a
donation, and then tlued them to a board, made a border and an ed{e and laid it on a
table base.
I thought that the squares, and later the boxes that they made into art pieces were
extraordinarily professional masterpieces. I must say that when I see the beautiful work
they do,
I
get rather euphoric, but
I
need to remain aware and ready to assisf people who
are paralyzed on one side of their bodies, who tremble uncontrollably, who forget what they
are doint, who know that they have a fatal illness.
Ellen Stern is a mosaic artist and teacher in Farmin$ton Hills, Ml.
Got news? Let us know. Send
it to !,routline@americanmosaics.orS.
/
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Gr6utline s"editbrs want your story ideas.Jf yOu are aware of an interesting installation -- old
or new -- that would merit an article, p,&se let us know. This doesn't necessarily mean you
must write the story!
SAMA is also looking for volunteer(s) to follow the marketplace of Art in Public Places
and similar opportunities. Groutline cannot carry ongoing listings, but the SAMA web site
may be able
to point to agencies and sites that compile listings.
Groutline is evolving to become primarily an educational and promotional vehicle for
mosaic images and discussion, lts secondary function as a notice board for supplies,
classes, etc, is being taken up by the web site - thanks to Nancy Wittel's dedicated volunteer
work. 0n the web site, updates can be made more frequently than once every quarter, and
the color printing that TileCreator has generously sponsored for Groutline is best used to
showcase mosaics.
SAMA thanks our patron members
Vicki
Bess
lnc.
Delphi Glass
Delphiclass.con
diMosaico-com
BBC Laboratories,
Adrian Torkington
Mobley
lvlosaicTools.com
Company Gina Hubler
monstermosaics.com Smalti.com
Eric Peacock
Michele Petno
Mosaic Mercantile Stainedclasswarehouse.com
Lany
Mobley and
MosaicMercantile.com
EdHoy'slnternational l\4osaicTileAfts.com
lohn Poetzel
EdHoy.com
Tabvlarasa.com
stefano Dazzi
Witsendlvlosaic.com
Susan leffreys
Jane 0'Donnell
Cynthia Rawson
CraigreSuccop
furUe Covet
SpeciaI thanks to patron memberAndrew Simmons ofTilecreator.com for his generous underwriting of
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