Creative Collaboration - Society of American Mosaic Artists

Report from the Annual Board Retreat • Page 16
Summer 2010 • Volume 11 • Number 3
Creative
Collaboration
Lin Schorr's Global Project
Extreme Makeover
MOSAICO Hits the Airwaves
Nipper Know-How
Get a Handle on It
New Teaching Series
Working with Elementary Kids
From the President
SAMA
Board and Officers
Secretary
Yvonne Allen
Treasurer
Jim Penak
Board of Trustees
Karen Ami
Dianne Crosby
Susannah Dryden
Sharon Plummer
Hillary Sloate
Photo: Julie Dilling
Vice President
Gwyn Kaitis
Advisory Board
Monica Agnew
Julie Dilling
Kim Emerson
Brian Felix
Staff
Executive Director
Dawnmarie Zimmerman
Operations Manager
Chris Forillo
Membership Director
Yvonne Allen
Volunteer Coordinator
Monica Agnew
Webmaster
Bill Buckingham
Groutline STAFF2B Custom Publishing
Editorial Director Barbara Coots
Design Director
Associate Editor Managing Editor Copy Editor
Barbara Dybala
Theresa Brander
Karola Brookshire
Jennifer Blakebrough-Raeburn
Advertising Sales Brian Felix
951-204-7887
advertising@americanmosaics.org
This issue's contributors: : Nancie Mills Pipgras
Groutline is published quarterly to promote
mosaic art in the U.S. and abroad.
©2010 Society of American Mosaic Artists.
Reproduction or distribution prohibited
without permission.
Address: P.O. Box 624, Ligonier, PA 15658-0624
Editorial queries may be sent to
groutline@americanmosaics.org
Articles and opinions expressed in Groutline represent
the views of the authors and not necessarily the views
of SAMA, its board of trustees, or the membership as
a whole. Advertisements are purchased and do not
imply endorsement by SAMA, its board of trustees,
or its members.
COVER: Swirlendipity I (2009), installed at
COVER:
A portion
Providence
Park Hospital in Novi, Michigan.
Mixed media; 3 x 5-foot unframed. Story on
page 10.
Photo by Lin Schorr
2 Society
of American
Mosaic
Artists
2 Society
of American
Mosaic
Artists
accomplish anything we wanted. I’ve found this affirmation to hold true throughout my life.
As I step forward to take the reins of SAMA, I’m meeting the challenge with eagerness. The
task is somewhat daunting, but the full support of the SAMA Board of Trustees and advisors,
our executive director, Dawnmarie Zimmerman,
and our operations manager, Chris Forillo, gives
me the confidence to steer SAMA into its second
decade.
As I write this letter, I still feel the excitement
of the successful 2010 American Mosaic Summit in Chicago and the subsequent Strategic
Planning Retreat in Austin, Texas. Please take a
moment to read the retreat report later in this
issue of Groutline, because it contains important information for SAMA members.
Going forward, I pledge to do everything
I can to raise awareness about SAMA and its
relevance to the art community. I will work to
create, solidify, and deepen our relationships
not only with other mosaic groups but also with
traditional fine art organizations. I promise to
represent SAMA in a professional, thoughtful,
and friendly manner.
Now I want to ask you something. Think
about what you have to offer your organiza-
tion. Do you have special skills that would be
valuable in fundraising, such as writing requests
for grants? Are you knowledgeable about marketing, or do you enjoy computer work? Do you
have time to contact potential advertisers and
sponsors? No matter how much time you can
give, whether it’s three hours a week or three
hours a year, whether you can do only one small
thing or devote time to an ongoing project,
SAMA appreciates your involvement. The more
you give, whether in time or money, the more
SAMA is able to give back to you in programs,
workshops, exhibitions, and publications.
In our current economy, it’s up to all of us to
do what we can to keep SAMA a vibrant, exciting, relevant, and educational organization.
Dig deep into your heart, and then contact
Monica Agnew, our volunteer coordinator, and
ask where you can be of help. Let’s all work
together to propel SAMA forward into our
second decade.
Summer 2010
President's Column
Tip of the Quarter
Annual Board Retreat
SAMA Committee Corner
An Honor for Irina Charny Volunteer Spotlight
2
8
16
17
17
18
Shug Jones
In addition to being president of SAMA, Shug Jones is the
president and founder of Tesserae Mosaic Studio, Inc., in Plano,
Texas, where she creates fine mosaic art and installations.
www.tesseraemosaicstudio.com
Features
Lin Schorr’s Collaborative Murals
10-11
A Survey of Regional Groups
12-13
Mosaic on ABC-TV’s Extreme Makeover 14-15
Departments
Inspiration: Michael Sweere
Regional: Philadelphia's Tell-Tale Tiles &
Fractured Fantasies
Artist Profile: Shug Jones
Step By Step: Getting a Handle on
Your Nippers
Teaching Series: Elementary Students
10th Anniversary Series: JeanAnn Dabb
3
4
5
6-7
8
9
Patron Members
Karen Ami
Timothy Falb
Gina Hubler
Jacqueline Iskander
Jane O’Donnell Drucilla M. Perez-Tubens
Michael Welch
Kim Wozniak
Donna Young
The Chicago Mosaic School
di Mosaico
Design Impact/
Miami Mosaic Academy
Jacqueline Iskander Mosaics
Jane O’Donnell
Drucilla M. Perez-Tubens
Mosaic Rocks!
Smalti.com
Mosaic Art Source
Inspiration:
Michael Sweere
by Ed Kinsella
T
he work of Minneapolis-based artist Michael
Sweere graces the walls of the many corporations
and
institutions
that
have
commissioned
his work. Most of his mosaics depict lush, bountiful
landscapes.
Mike’s mosaic work is an evolutionary fusion of two
passions: a lifelong interest in painting and drawing
landscapes from direct observation, and his two-decade
career as an art director for an advertising agency. His
landscapes often become the cartoons or blueprints for
his mosaic projects, and the commercial techniques
and processes Sweere mastered over twenty years in
advertising often morph into new mosaic approaches.
Mike’s rigorous work ethic comes from his previous
Photo: Dave Fick
When I was young, my mother told
my siblings and me that we could
President
Shug Jones
Two Haunted (2010). Glass, stone, and ceramic tile with bone and cultured pearls; 36 in. square.
career, where he learned the importance of project
planning, meeting aggressive commercial project schedules,
down. For the rest of his work, Mike uses glass, ceramic, stones, and
and running a successful, sustainable business. Extensive travel
found objects.
exposed him to several styles of public mosaic art: the monumental
Central to Michael Sweere’s work is the accurate portrayal of light
mosaics that decorate the subway stations of New York City, the
qualities characteristic of, and unique to, a given place. Consider
mosaics of Mexico made from commonly discarded everyday
the color-enhancing diffused light of the Pacific Northwest, or the
materials, and the mosaics of the American Southwest that depict
bleaching intensity of the southwestern desert sun, which fades color
local landscapes and surroundings.
while creating sharply delineated shadows. The fluidity of light and
While eating breakfast with his son one day, Mike was inspired
the way it interacts with the natural world endlessly fascinates him.
to create a paper mosaic from the cut-up pieces of a cereal box,
Depending upon the season, the time of day, or the weather, the same
the type of packaging he designed at work. This pivotal moment
subject can look quite different.
showed him the endless possibilities of the mosaic medium. In a
Michael’s influences include the American Impressionists, whose
poetic way, his past designs found their way into his early mosaics,
paintings capture light so skillfully, and various contemporary artists.
which were paper collages created by recycling the packaging he
Andy Warhol followed a career path similar to Mike’s, beginning in
had accumulated throughout his career.
the advertising world before transitioning into the fine art world.
Mike notes, “Maybe it’s a little ironic that most of my paper
Like Mike’s, Warhol’s work shows the vestiges of his commercial art
mosaics depict trees—the natural resource from which paper
experience. Andy Goldsworthy inspires Mike to use natural material
packaging comes. Once a tree, still a tree.”
typically overlooked as art media, and to work in a larger scale. The
After thorough planning, Mike bid farewell to the corporate
world to follow his new passion and focus full time on a large
mosaic commission. More commissions came his way, and he has
now created mosaics nonstop for the past six years. Roughly half
of his current output is made up of cut tin creations, which feature
objects such as fruitcake tins, coffee cans, and TV trays. He flattens
them, rearranges them according to his cartoon, and nails them
Rev. Howard Finster’s oeuvre inspires Mike to be a handyman-artist,
to experiment, and to be resourceful in solving artistic challenges.
SAMA was pleased to have Michael Sweere as a volunteer panelist for the 2009 Robin
Brett Mosaic Scholarship competition. Visit his website for additional information
and galleries of his work. www.michaelsweeremosaic.com.
Ed Kinsella has been creating mosaics in his spare time for almost three years.
www.flickr.com/photos/kinsella5555/collections/72157622737716035
Society of American Mosaic Artists 3
Artist Profile:
Shug Jones
perfect piece with the exact swirl, curve, or
color that I need is exciting.
Step into the world of Shug Jones,
SAMA’s president,
who has been creating art
since childhood.
GL: How has your business evolved?
SJ: We began with residential and hospitality installations, and our business grew
quickly. In 2006, Julie Dilling joined me,
and we increased the number of fine art
by Susannah Dryden
commissions. Most recently, I’ve discovered how much I enjoy teaching portraiture
GL: When did you know you were an artist?
and realism workshops, and I hope to offer
SJ: In first grade we drew Thanksgiving
these courses in our Dallas studio soon.
turkeys. My teacher loved mine so much
Photo: Shug Jones
Philadelphia’s
Tell-Tale Tiles &
Fractured Fantasies
alism and portraiture. And discovering the
Friends in the Park (2009). Italian and Mexican
smalti; 17 in. high x 21 in. wide.
that she invited me back to her classroom
Photo: Bonnie Fitzgerald
An enchanting exhibition at
the Magic Garden
March 18–April 18, 2010
by Bonnie Fitzgerald
Ali Mirsky and Isaiah Zagar with her Shalom Chaim (2009), 36 x 28 x 4 in.
each year to show the kids how to draw a
turkey. This was the first time that someone
acknowledged me as an artist.
GL: Who influenced you?
SJ: My late uncle, David Clark, was a wonderful oil painter. When I was 11, he took
me to weekly oil painting classes taught by
interesting contrast to the more traditional square, flat tiles that relied
town. I loved the classes, and from that
evening, the smell of spring in the air, and an absolutely
on varied decorative methods such as slip decoration and photo-
point I never considered becoming any-
perfect night to experience Tell-Tale Tiles & Fractured Fantasies.
silkscreen. Mosaics made up a small portion of the exhibition, and all
thing other than an artist.
Presented by Philadelphia’s Magic Gardens and the Tile Heritage
were created using ceramic or traditional tile making in some way.
Foundation, it was held in conjunction with the 44th Annual
Newton’s Best Friends is an expressive work created in unglazed
National Council on Education for the Ceramic Arts (NCECA). The
porcelain. As an ice skater, Newton is drawn to historical, illustrated
opening celebration was indeed an enchanting experience. Inspired
prints of this wintertime sport, and her interpretation is full of joy
by the rich history of tile and mosaic art in the Philadelphia area—
and movement. Mirsky's Shalom Chaim is an explosion of energy.
most notably the work of famed arts and crafts tile designer Henry
A “tree of life” theme emerges from a plethora of shells, hand-built
Chapman Mercer—the exhibition explored contemporary tile making
ceramics, and found objects collected over many years. Most of the
and ceramic mosaic as a storytelling medium.
materials for Shelkin’s Becoming came from her stash of broken
GL: What was your path to mosaic art?
SJ: A friend and I turned to mosaic art in 2001
when we heard about a local call-to-artists for
a mosaic wall mural. We started a mosaic art
studio, teaching ourselves how to mosaic after extensive research and experimentation.
Photo: Casey Podlucky
T
a European artist each summer in our little
he weather was unusual for Philadelphia in March: a warm
We actually won the commission, and I've
The call for entries requested narrative tiles that included social,
pottery, including two tiles she received from Virginia Sumner in
been doing mosaics ever since.
GL: Tell us a bit about Julie Dilling, your
very few people in my life whom I didn’t like
political, personal, and family stories. Renowned ceramicist and art
the Tessera Exchange at SAMA’s Mosaic Summit in 2009. Shelkin’s
GL: Who/what inspires you?
business partner.
and couldn’t learn something from as well.
historian Susan Tunick selected the works for the exhibition. Tunick
unconditional love for her daughter inspired the work.
SJ: The people and the world around us
SJ: Julie is a fantastic business partner and
GL: Any advice for other mosaicists?
inspire me. I’m happiest creating portraits
so much fun. We have a lot in common;
and realistic figurative work—pieces that
we’re both native Texans, easygoing, and
show people in common settings doing ev-
we know that we can depend on each other
eryday things that go unnoticed by most.
for anything.
GL: What are your favorite materials?
GL: What makes you a good teacher?
know the basics of art. Learn to draw, and
SJ: I love Mexican smalti—the size, shape,
SJ: I teach people the way I would want to
learn about value, form, and color theory.
mottled surface, and color variation. The
be taught, by teaching the details, not just
infinite variety and ability to shape very
how to do something, but also why. I love
small pieces make art glass a favorite for re-
interacting with my students, and I’ve met
is a national spokesperson for the preservation of architectural terra
Philadelphia’s Magic Gardens was formed as a museum to embrace
cotta and the president of Friends of Terra Cotta. SAMA members
and preserve Isaiah Zagar’s legacy of community beautification
were well represented in the exhibition. Shawn Newton’s Best Friends
through his relentless mosaic work. The fascinating environment of
mosaic was honored with third place in the competition. Ali Mirsky,
the Magic Garden was the perfect venue for Tell-Tale Tiles & Fractured
Carol Shelkin, Bette Ann Libby, and Donna Billick were among other
Fantasies. I salute the exhibition organizers for an inspired show.
SAMA members chosen to exhibit their work.
Visit www.philadelphiasmagicgardens.org for more information
The ceramic elements presented a wide range of clay bodies,
about the Magic Garden.
firing techniques, and glazes. Featured were large tiles with only
minimal amounts of relief, and shaped tiles that were often used to
create mosaic tesserae. Sculptural, three-dimensional work made an
4 Society of American Mosaic Artists
Bonnie Fitzgerald is a mosaic artist and the owner of Maverick Mosaics, an educational
facility located in metropolitan Washington, DC. She is a former SAMA trustee.
www.maverickmosaics.com.
SJ: Only this: Mosaic is art and, as such,
you have to do what makes you happy, not
what makes someone else happy. And if
you choose to work realistically, you need to
You’ll never regret it.
Susannah Dryden, a longtime mosaic enthusiast, is a
member of SAMA’s Board of Trustees.
Society of American Mosaic Artists 5
Step By Step: Getting a Handle on Your Nippers
How to Use Your Nippers
by Laurel Skye, The Tool Whisperer
N
Method 1
ippers! We all have them. Our glass and tile cutters are like
and the price, in the neighborhood of $100, can drain your wallet.
great knives to a chef, or trusty hammers to a carpenter.
But if you are as obsessed as I am with mosaics and spend a lot of
They are the “must-have tool” of the mosaicist. Ask mosaic
time cutting, do your joints a favor and check these out.
tilers and they will tell you they have a favorite pair that they love.
Let’s explore some of the standard and not-so-standard nippers.
For those of you who do work with the Silberschnitts (also known
There are side-biters, professional, precision, spring-loaded, and
the wheels. When I am working with nano tiles, which are 2mm
and 3mm in size, there aren’t many cutters that do the job well. I
with its carbide jaws and the weight of a sledgehammer. Then
had to resort to end-cutting pliers from a hardware store. Even the
there’s your household staple, the Leponitt, as well as wheel-cutters
Silberschnitts weren’t getting the job done. But I have since adjusted
and side-biters featuring various brand names (and “no names”)
them slightly and they are perfect! See A-B-C below.
and made in places from Italy to Taiwan (if you don’t already have
And now the new “nitts” on the block: ta da! the Silberschnitt®.
Using a 3/4-inch piece of glass
(preferably stained glass), draw a
line down the center with a marker.
as zag zags and Bohles), I would like to show you how to adjust
manual. You have your “etts” and your “itts.” There's the Starrett®,
arthritis, some of these will surely give it to you).
The 3P Principle: Point, Pinch, and Pop!
1
Point: If you are righthanded, use your left hand
and point your index finger
across the room.
On the next page, I cover two rather different holding methods
I use when working with wheeled nippers to get good control of
my glass and create less waste, and how to avoid getting curves
The replacement wheels alone cost more than most nippers. But let
when you want a straight cut. I cannot say I “own” these methods,
me tell you, they are the bomb, and ergonomically correct. Invented
although no one taught them to me. I devised them myself and
by German locksmith Josef Bohle, the Bohle cutting tools have been
labeled them years ago for easy reference. One is the “3 P Principle,”
a trusted name since 1923. Because of the machining necessary to
and the other is the “Tunnel Hold.”
create these precision tools, they have not flooded the mosaic market,
2
Adjustments
Getting your Silberschnitt wheels closer together
A Disassemble Remove the nut with a #13mm socket wrench. Loosen the screw from behind. Remove the spring.
B File Slightly With a small metal rasp (file), slightly grind down the metal between the handles, being careful not to remove too much.
C Reassemble Ja, dat’s itt, you’re ready to go.
B
A
C
3
Photos: Laurel Skye
6 Society of American Mosaic Artists
2 Pinch: While still pointing, pinch your thumb and
middle finger together, aiming
those toward the floor. Now,
slide your glass in between
your pinched fingers. Do not
open your fingers; keep them
pinched. Just slip in the piece
of glass. Your thumb should
stay in alignment with the
drawn line, as in the photo.
4
Tunnel Hold for
Rectangles
1
1 Fingers
Above
and
Thumb Below: Draw a line
down the center of your glass.
Place your fingers as shown,
creating a kind of “tunnel,”
with your glass at the far end.
2
*Note: with triangles, I add a fourth P:
Pray. The Pray part is taking a moment
to line up your cut and your intention,
then Pop!
Laurel Skye lives in northern California and teaches at her studio, Skyelab, as well as
throughout the United States and internationally. She is the author of Mosaic Renaissance:
Reviving Classic Tile Art with Millefiori. web.me.com/laurelskye
Ever try to get thin, straight
rectangles out of a 3/4-inch
square, but they keep coming
out curved? It’s often because
you are using your wheel cutters to cut from the edge. Each
subsequent cut continues to
make another curved “fingernail” clipping.
Try this holding
method:
3
Pop! With your first
pointer finger, secure the
opposite edge of the glass, as
pictured. Place your wheel
directly over the marked line,
hold the glass securely, and
pop!
4 Voila! Still holding, but
now split in two, notice how
much control you have with
this method. It’s great for triangles as well.* Just run your
line diagonally and hold in
the same way. I can cut 16 triangles with this method, out
of one 3/4-inch square.
How Not to Use Your Nippers
1) For a desperate last-minute haircut just before
the big family Christmas dinner
2) On most ceramic material, because over time
it will dull your blades
3) For cutting large pieces of glass (more than 1 inch);
cuts will be rebellious
4) For clipping the cat’s toenails; not an option
Method 2
1
3
2 Pop! Align your nippers
right over the center of the
line and pop, but don’t let go.
3 Drop and Pop: Now simply
drop the rectangle on the left,
hold the remaining rectangle
securely between the first finger and the thumb, and make
a firm, quick snap right down
the middle. With a little practice, this method should yield
four nice, straight rectangles.
Society of American Mosaic Artists 7
10th Anniversary Series
Teaching
Series
Living history, multiple perspectives
Photo: Lisa Boyce Lindner
Working with
Young Children
JeanAnn Dabb
by Liza Boyce Lindner
M
eeting JeanAnn is pure pleasure. Her friendly eyes
emanate a deep sparkle and a quiet concentration. Her
Students at Berwyn Heights Elementary School in Maryland created The Bay Mural.
enthusiasm for mosaic is boundless and contagious, and
she speaks about her art with soft precision. She possesses a deep
knowledge of mosaics from the perspectives of historian, teacher,
ublic school children ages 4 to 12 are a joyful, challenging population to create mosaics with.
Immersed in art from her college days, JeanAnn became an art
Here are some strategies you may want to consider in your work with young children.
historian. Part of her doctoral work at the University of Michigan
Preparing for kids:
Working with kids:
• Line substrate edges with masking tape and mark with X’s. Consider
• Work in groups of 10 children or fewer, regardless of age. The
where the installation hardware will go and mask that area off, too.
amount of time each group spends with you depends on how large
These X’s indicate that no tiles will be laid there; you will tile these
the mosaic is and how many children will be helping. Start with 20
areas later.
minutes per group.
• Indicate tile placement by adhering appropriate ones periodically
• In general, use 4th–6th graders for outlining and detail work, and
along outlines. Indicate how the outlined areas will be filled by gluing
pre-K–3rd graders for larger areas.
down sample tiles.
• Show students what areas they can work on. Demonstrate how to
• Put out only those tiles that a particular group of kids will use. Too
choose a tile, how to put glue on the tile, and how to lay the tile.
many tiles are distracting.
• Do not let pre-K or kindergartners use pastry bags. Let them choose
• Some students will not want to glue. Set up an area where kids can
a tile that you adhere the glue to. Then they can find the perfect place
wash, sort, or cut tiles. Children who cut need eye protection; borrow
for their tile and repeat the procedure.
goggles from the science teacher.
• Note the students who do particularly well. Call them back to help,
• If using thinset for tile adhesion, prepare “pastry” bags. Four cups
if necessary.
make about 10 bags, enough for a day’s work. Mix thinset and latex
• This work can be exhausting. Take a lunch break away from the
additive as directed. Spoon three or four hefty spoonfuls into small,
mosaic.
heavy-duty plastic sandwich bags. Squeeze out the air and twist closed
Working with young children requires organization, patience, and a
with a small piece of pipe cleaner. Cut a small hole in the corner.
sense of humor. Mistakes will be made; allow them to happen. You’ll
• Use Weldbond® or other suitable glue in the smallest bottles available.
be better prepared for your next adventure.
• Rules should be stated visually and verbally. Make a sign, and have
a group member read it aloud:
8 Society of American Mosaic Artists
Now, after many years as a teacher at the University of Mary
Washington in Virginia, she has introduced a course that not only
focuses on historical mosaic art but also requires hands-on experience
in creating mosaics. She has organized exhibits at the school’s
galleries from in-house student works to an important national juried
show, called Inspired by..., which she curated in 2008.
In the summer of 1998, she enrolled in a class at the International
Institute in Lido Adriano, Ravenna. There she learned how to use
a hammer and hardie—still her favorite mosaic tools—to make
accurate copies of Roman designs. After returning home, she
discovered a longing to expand her mosaic family. She contacted
Janet Kozachek and, in short order, acquired a SAMA membership,
a subscription to Groutline, and a place on the board of trustees
that she held for seven years. She enjoys sharing her love of
mosaic by speaking at conferences and staying involved as both
a volunteer and sponsor.
JeanAnn developed her own distinct voice, and her pieces are
Imaginary Archaeology (2008) has, among other things, marble, sandstone, septarian
nodules, azurite, turquoise, copper, beryllium, salt crystals, agate, garnets, fossilized
palm, bones, ammonites, trilobites, arrrowheads, Roman-era glass, pottery and tesserae,
iron spike from small-gauge copper mine railway, bottle caps, bus ticket, asphalt, coins,
shells and a Paleolithic cutting tool that dates to 25,000 BCE; 26 x 20 inches.
twist, an artistic wink, which conveys extra meaning. One such
piece from 2007 is Cave Garum (“beware the fish sauce”), a
Make YOUR
donation to the
humorous take on the famous Roman “beware the dog” sign,
Cave Canem, of which there are several examples in Pompeii.
Previewing Colors with Dry Grout
Do you dread grouting? Are you afraid you’ll
choose the wrong color and ruin the piece you’ve
invested so much time and energy creating?
Rest assured that you are not alone. Although
some mosaicists describe grouting as the most
exciting and satisfying step in the process—the
act that pulls together all the mosaic elements
and reveals the final artwork—others stockpile
their ungrouted pieces until deadlines, space
involved studying medieval art in France, and there she perused
museums and sites rich in all art, including mosaics.
rife with historical references and wit. She often adds a deliberate
Liza Boyce Linder, M.A. in art education, lives, works, and creates mosaics in Prince
George’s County, Maryland. She welcomes your emails at lizaboycelinder@gmail.com.
P Please, no tiles on the areas with X’s.
P Please, no glue on the tops of the tiles.
P Please relax, take your time, and smile.
artist, and supporter and friend of students and fellow artists.
Photo: JeanAnn Dabb
P
by Sophie Drouin
Send your favorite tip to
My favorite of JeanAnn’s pieces is Imaginary Archaeology,
groutline@americanmosaics.org
a triptych that takes inspiration from the typical look of an
limitations, or shame force them to take grout
in hand.
Some artists create small grouted sample
pieces to ensure they’re happy with the color.
This requires a fair amount of effort, but the time
you spend up front could save you from a grout
disaster down the road. If you don’t have the
time to make a sample piece, however, you can
try the dry grout preview. Select one or more dry
archaeological trench. Incorporated in this particular dig are various
objects from the artist’s personal past as well as from her numerous
grout colors and choose a section of your mosaic
to test. Pour the dry grout into the groutlines of
this section to preview the look. This method will
not render the same color accuracy as creating a
sample piece, but you will get a fairly good idea of
how the color works. When you’re finished, simply
turn your piece over to remove the dry grout,
and you’re ready to complete your mosaic with
confidence. – Susannah Dryden
rock-collecting trips. This triptych is not merely beautiful to look at;
indeed, each personal relic enhances its multidimensional depth
and helps create layers of significance. The result is joyous, wistful,
elegant, and wonderful, a true reflection of this remarkable person.
Sophie Drouin is a second-generation mosaic artist who has spent more than a
dozen years actively expanding the limits of dimensions and materials. See some
of her award-winning work at www.sophiemosaics.com
SAMA and YOU
We’d like to hear how being a member
of SAMA has impacted your art and
your life. Send your statement of
150 words or less (be creative!) to
legacy@americanmosaics.org
and be sure to watch
“The Legacy of Membership”
page on the website.
Legacy
Campaign
TODAY!
Go to the SAMA website
and click on the link from
the home page.
Society of American Mosaic Artists 9
Lin Schorr’s Collaborative
Mosaic Murals Leveraging the talent of a worldwide mosaic community
by Crystal Thomas
Lin sent instructions for working on mesh to
the participating artists and began looking for a
local venue for the community project. On the
suggestion of a friend, Lin contacted a manager
at Providence Park Hospital in Novi, Michigan,
who was taken by the project. “By the time the
final meeting rolled around, the swirl numbers
had swelled to 56 pieces, so a mockup was
made of two 3-by-5-foot panels, splitting the
Lin. Swirlendipity I and II were born.
The hospital was so pleased with the first
two murals that they requested two more.
Before Swirlendipity II was even delivered, Lin
was hard at work organizing Amuzapalooza!,
a mural consisting of interlocking puzzle
pieces, and planning Heartistry, a heartthemed mural. So many artists from all over
the world had heard about the first murals and
wanted to participate that Lin had no shortage
of contributors for the third and fourth murals.
Overall, 86 artists and eight countries are
represented in the four public murals on
display at Providence Park Hospital.
According to Lin, the community art theme
and “the multiple levels of artists, from the
casual weekend mosaic artist to the professional,
is what made the magic happen.”
But it took more than that. Lin painstakingly
W
hat started as a simple entry into a mosaic art contest on the
Flickr photo-sharing site has turned into a potentially careerchanging endeavor for one Michigan artist. As the winner of
the Mosaic Box challenge in September 2008, Lin Schorr had the honor of
choosing the subject of the next challenge. She chose a simple 6-by-6-inch
swirl, to make the contest accessible to as many artists as possible.
When a few Flickr members discussed “how interesting it would be to put
them all together when they’re finished,” said Lin, “it took me about one
minute to want to take it on.” After gauging interest and getting approval
from the group moderator, Lin made the announcement to the group.
“There was no mulling it over, just an excited me informing my husband,
the frame builder, ‘Guess what we're doing?’”
assembled and mounted all the contributions
according to design and color, added her
own stunning mosaic art for the borders,
and designed and built 4-by-6-foot custom
frames for each mural. For the second two
murals, she developed individual templates,
which she mailed to each participant along
with design and color criteria: contrast/
colorful/abstract for Amuzapalooza!, and
white/red/silver for Heartistry. Her vision,
organizational skills, and artistic talents are
what truly pulled this worldwide community
of artists together.
Photo: David Schorr
The last mural was installed on February
Author and coordinator Lin Schorr with Amuzapalooza! Installed 2009. Stained glass,
vitreous tile, tempered glass, dichroic glass, mirror, smalti, plate glass, glass rods,
photos, millefiori; 3’ x 5’ mosaic, 4’ x 6’ framed.
5, 2010, about 18 months after the idea
was born, and each mural has been well
received. “At one point, two of the murals
10 Society of American Mosaic Artists
Photo: Crystal Thomas
swirls into warm and cool hues,” explained
From left to right, top row: Linda Vaden-Martin, Agnes Spitzer-Greig, Susan Crocenzi , Donna
Post, and Susan Walden. Bottom row: Crystal Thomas and Lin Schorr. Background: Heartistry was
installed in February in the Cardiology/ICU/Surgical Level 2 at Providence Park Hospital in Novi,
Michigan. Stained glass, vitreous tile, tempered glass, mirror, dichroic glass, fused glass, plate glass,
ceramic shapes, paper, flatware, metal key, jewelry (earrings, bracelet, pendants and charms, glass
marbles, millefiori, polymer clay, metal ball chain, BB pellets, clockwork gears, and beads of coral,
metal, glass, and onyx; 3 by 5 ft. mosaic, 4 by 6 ft. framed.
had to switch floors,” said Lin. “But the staff had already become attached to ‘their’
mosaic and didn’t hold back any opinions!” Reactions observed by Lin have generally
ranged from “they’re so beautiful” to “isn’t it amazing!” And when Lin goes to visit
them, “inevitably someone comes by to tell me all about them. I don’t let on that I’m
aware—I just smile and listen; it’s kind of fun.”
As for the contributing artists, they love being a part of something so beautiful, diverse,
and expertly crafted, and are without question delighted to have their work displayed in a
healing environment. In fact, one group of SAMA members extended its 2010 conference
experience by renting a van and driving from Chicago to Novi, Michigan, just to visit Lin
and her murals in person.
Lin’s experience with the mural project has been overwhelmingly positive. “I’ve been
project managing for years, and only working in mosaic for about three of those. I still
plan to plug away learning, designing, and creating. I find the generosity and excitement
of people heartwarming and energizing, but not surprising at all.”
Mosaic artists continue to ask Lin when they can participate again. “I would love to
do more hands-on mosaic collaborations!” said Lin. “However, this last project has kept
me busy for over a year, and I need to take some time to work on a few of my own ideas.
So instead of murals, I’m working on a charity event that is currently scheduled for April
2011, which coincides with Glass Month in Michigan and will benefit an international
charity.” For this project, Lin has collected the largest list of mosaic participants yet.
All of the murals are located at Providence Park Hospital in Novi, Michigan, on your
immediate right upon exiting the public elevators on floors 2 through 5.
Lin’s website is http://linschorr.com.
Crystal Thomas is a writer, editor, mom, wife, and last but not least, mosaic artist. CrystalThomasMosaics.com
Society of American Mosaic Artists 11
Strength in
Numbers
A survey of regional groups
R
by Ilona Fried
Extreme Makeover: Home Edition that aired in April (see page 14).
people on the email list. But it seems that the area is becoming
MOSAICO meets monthly, organizes an annual retreat, and has
a mosaic magnet. Oregon artist Lynn Adamo is curating Elements,
pooled contributions to donate to SAMA’s Robin Brett Scholarship
an exhibit that will run from December 2010 through early 2011,
Fund and the SAMA Sponsorship Program. MOSAICO’s new website
following on the heels of the acclaimed Cutting Edges show in 2009.
is under construction, but if you live in Houston contact Roxana R.
If you live in the Northwest, you can keep abreast by visiting groups.
Nizza, one of the founding members, at Roxana@DAFmosaics.com
yahoo.com/group/mosaicartistsNW/.
or (281) 787-2472.
Like their Colorado counterparts, Mosaic Artists of Michigan
Meanwhile, 160 miles away, the Austin Mosaic Guild (AMG), a
(MAM) recently transitioned from an informal group to a non-profit
66-member group that meets monthly, is flexing its organizational
association. See the spring issue of Groutline for an entire article
muscles as it prepares to host the 2011 American Mosaic Summit. If
about MAM, or visit www.mosaicartistsofmichigan.com.
you’re an Austinite, stay informed by visiting groups.yahoo.com/
group/austinmosaicgroup/.
Finally, while based in Minnesota, The Handmade Tile Association draws its more than 160 members from 29 states and Canada,
Up in New England, The Art of Mosaic 2009, a juried exhibition
which means that this organization is big enough to have a physi-
curated by Bill Buckingham and Margaret Ryan, with work from 58
cal address. If you don’t live nearby but make your own tiles, you
artists from six states, appears to have catalyzed even more activity. Jim
can still join and be listed at www.handmadetileassociation.org,
Bowen and Linda Dadak are planning an international mosaic exhibit
which gives details about upcoming meetings and events.
for the summer of 2011 at a historic mansion and cultural center on
Don’t see your region represented? Come to the next SAMA
Cape Cod. Connecticut’s Deb Aldo will be curating two back-to-back
conference and meet others from your area. Or, if you can’t wait
mosaic exhibits this fall and winter. Although these energetic people do
until next spring, visit Mosaic Artists Org (MAO) at groups.yahoo.
not organize regular meetings, you can find a directory of artists and
com/group/mosaicartistsorg to find folks who want to share things
class listings at www.mosaicsnewengland.com.
mosaic and, piece by piece, create a group or exhibit together.
On the opposite coast, mosaic artists can find one another through
egional mosaic activities are spreading faster than Weldbond® on a warm day.
Whether you’re a novice or an established artist, local groups and networks are
the Northwest Mosaic Artists Yahoo group. It’s a “loose affiliation,”
according to Seattle’s Kelley Knickerbocker, with more than 150
Ilona Fried lives in Denver, Colorado, where she writes and makes mosaics.
www.mixedmediamosaics.com
great places to form friendships, learn or teach mosaic techniques, or offer design
or public relations skills to help promote an exhibit. As a fringe benefit, you might
find one or more roommates for the next SAMA conference. What follows are selected
snapshots of the mosaic love that is rocking the nation.
In early 2010, after five years as an informal group, Colorado Mosaic Artists (CMA)
made the bold leap into officialdom led by Kathy Thaden, now CMA President. Within
three months, CMA registered as a non-profit association, elected officers, launched a
website, and organized a juried exhibit, The Art of Mosaics, with more than 30 works
from 13 artists. Whew! The group now has 22 dues-paying members, including a few who
joined on the spot at the exhibit’s reception. CMA plans six meetings a year at members’
homes and is seeking venues for its next juried show. Visit www.coloradomosaics.org
to learn more or follow the group on Facebook.
The Minnesota Mosaic Guild (MMG) doesn’t let the long winters slow it down.
The Guild, which averages 30 members a year, includes professional mosaic artists
and beginners alike and is planning its third annual art exhibit. This year’s show runs
through July 28 at the Kären Gallery in Minneapolis. The group meets nearly every
month, and for its June gathering, offered critiques with the guidance of a professional
facilitator on the artwork of three of its members. And if that programming doesn’t make
your tesserae tingle, MMG is researching the possibility of donating a mosaic quilt to
Haiti. Keep up with this group at www.minnesotamosaicguild.com.
If you see a cloud of glass particles coming over the horizon, that’s because Texas
mosaic artists are nipping up a storm. For a fourth year, the 20 members of MOSAICO
Houston are donating mosaic bowls to a project benefiting the Houston Food Bank.
They’ve also collaborated on an art festival booth, a gallery sale, and an ABC TV
12 Society of American Mosaic Artists
Society of American Mosaic Artists 13
B e h i n d t h e S c e n e s of
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1 Left: Fabrication nears completion
in the studio, revealing the beauty of
the iridescent glaze on the bronze tile
and the tempered glass "water" of the
stylized fountain.
Photos on opposite page:
2
Michele Patrick demonstrates
the "high-tech" method (not!) for
breaking tesserae to size.
3 Darby Freeman and Roxana
Nizza prepare the design for transfer
to the substrate. After enlarging
the design to full-size and taping
the printed pages together, they
perform some fine-tuning of the
overlapping pages.
H
1
Michele Patrick, Brian Patrick,
and Roxana Nizza work on the top
panel of the headboard. They cover
pre-drilled screwholes with blue tape
and mix the thinset, as needed, in
individual small cups, using it to
adhere the ceramic tile to the
substrate and back-butter the tiles.
3
4
screwheads and seams with pre-cut tesserae, and added border trim. At sunrise on Day
The question we’re most frequently asked is how
8, four of us returned to grout, and at 4:00 p.m. that day, the “move that bus” sequence
we became involved in the project. The answer: We
was filmed and the “reveal” of the completed house was made to the family. All done
created the opportunity! After seeing a newspaper
in less than 48 hours!
article about the rebuild a few days before it started, I
Although this summary time frame sounds pretty simple, the real story is in the
submitted an offer to sponsor a mosaic project. That
obstacles encountered and overcome. Coordination, timing, and flexibility in a job like
meant that we, like other sponsors, donated our time
this are essential, beginning with having a ready group of volunteers located close to the
and all materials for the mosaic. A generally unknown
action and free to devote the time required on short notice. We also contended with a
aspect is that funding does not come from the TV
constantly shifting timetable derailed by rain and rare freezing temperatures during the
network. The local builder who leads the project relies
early stages of construction. Each delay cascaded through other aspects of the project,
on the local community for donations of money, time,
affecting us, for example, by delaying approval of the mosaic design by half a day.
and skilled trades to support construction. We were
Additional unanticipated hindrances were likely rather typical, until the twist
proud to participate in a program that helps families
at the end:
in need; we also felt that it provided good publicity for
Tight Security. It took more than an hour to clear multiple checkpoints at the house,
mosaic arts, even though my plan to promote SAMA
locate hardhats, and pack in the mosaic and installation supplies.
by wearing a logo apron backfired. The film crew used
Incomplete Walls. Arriving on Day 7 to install the mosaic, we learned that the room’s
black tape to cover the SAMA name; no names except
walls needed to be replastered and repainted. We installed the mosaic quickly and
major sponsors could be shown!
vacated the room for the plastering team, with plans for our return at midnight. After
The Beach Family Makeover was broadcast on
being up for 32 hours, that target became unrealistic. We went back at sunrise on Day
Sunday, April 4, 2010. View photos at abc.go.com/
8, only to find the plaster walls still wet and space heaters and fans going full blast.
shows/extreme-makeover-home-edition/photo-
Dislodged Tesserae. Several tesserae were knocked off by overnight elevator installation
details/beach-family/412358.
on the other side of the wall, requiring repair before grouting.
ave you ever wondered whether the houses in the ABC-TV program
Plummer, Roxana Nizza, Michele Patrick, Darby
Over-dried Grout. When we applied the grout, we expected the camera crew to film
Extreme Makeover: Home Edition are really demolished, re-built,
Freeman, Rachel Stokes, and Brian Patrick—taking
the grout wipe-down and buffing. After we had waited two hours for them, we discovered
and decorated in only eight days, and what the experience is like? Six
up seats around two worktables in Michele’s studio
that the grout had become rock hard! We had to scrub like crazy to clean it off.
Houston-area mosaicists found out by participating in the home rebuild for the Beach
at about 4:00 p.m. on Day 6. During the 18-hour
Shrinking Workspace. While we were grouting, our workspace grew ever smaller as
family of Kemah, Texas, in January 2010. We can confirm the “extreme” timetable. And
marathon of fabricating the mosaic, we each “hit
furniture and decorative items were continually being dropped off.
take it from us: It is a wild ride!
the wall” at some point, but successfully rallied and
More Rain Problems. As we triumphantly left the house, we found ourselves on a
finished at 11:00 a.m. on Day 7.
long slog through the rain to a distant parking area. We found our car mired in muck
The show's designer requested a full-size mosaic headboard for a Hacienda Spastyle bedroom. After receiving the invitation at 6:00 p.m. on Day 4 into the build, we
After coordinating with the production designer,
because the rain and hundreds of cars had transformed the lot into a rutted mud pit.
quickly developed design proposals and obtained supplies. As soon as the design and
we transported the two-panel headboard three miles
After several unsuccessful attempts to get free, a young man in a jeep with a heavy
tile were approved, the mad rush began, with the mosaic team—consisting of Sharon
to the house and installed it on the wall, covered
chain pulled us out—twice!
14 Society of American Mosaic Artists
Photo: Courtesy of Vanessa Price, Senior
Design Producer - Extreme Makeover:
Home Edition
Photos: Courtesy of MOSAICO Team
4
2
Sharon Plummer is the owner of Plum Art Mosaics, a founding
member of Houston’s mosaic group MOSAICO, and a current SAMA
trustee. www.mosaicohouston.com
Society of American Mosaic Artists 15
Strategies for Our
Second Decade
by Shug Jones
The weekend of April 30–May 1, 2010, members of the SAMA Board of Trustees and Advisors met for the annual Strategic
Planning Retreat. This year’s meeting was held at the Hyatt Regency Austin, the site of the 2011 American Mosaic Summit.
First on the agenda was the formal election of the Executive Committee. New officers are: President – Shug Jones,
Vice President – Gwyn Kaitis, Secretary – Yvonne Allen, and Treasurer – Jim Penak. Following the election, the board
discussed the direction of SAMA as it enters its second decade and, specifically, how to add value to the membership. To
that end, the board drafted a SAMA vision statement and a list of long-term goals that we hope to accomplish by 2020.
One of the greatest challenges the organization faces, as do many others in this economy, is fiscal. With many members downgrading their membership levels
from Professional, Corporate, and above to Individual, our income has been reduced. In addition, even though our greatest revenue generator is our conference, it is
not always as profitable as is necessary to provide working capital to cover our ongoing expenses of payroll (for our executive director and operations manager), publications, postage, and so forth. Using the 2010 conference as an example, we have identified several ways that we can cut costs and generate new sources of revenue.
While cutting back on costs, we still recognize the necessity to provide value to you as members of SAMA. We have created a Facebook fan page to keep you
updated with the latest SAMA happenings. A committee has also been established to look into the feasibility of creating “regional groups” that would allow for
juried exhibits, not only of fine art but of themed work, such as decorative mosaics and architectural work.
Our retreat ended on Saturday evening with a visit to the MACC (Mexican American Cultural Center), where we viewed available spaces for the 2011 Mosaic
Art International (MAI) Exhibition and joined several members of the Austin Mosaic Group at Maria Maria La Cantina for dinner. I assure you that the conference
hotel and exhibition venue are first-rate, and you can expect a hearty welcome from Texas.
Your board members came away from the retreat with a sense of purpose and enthusiasm. Stay tuned to Groutline, Andamento and SAMA’s Facebook page
for further information as it becomes available.
SAMA's Vision
The Society of American Mosaic Artists (SAMA) champions mosaic arts regionally, nationally,
and internationally.
SAMA's Mission
SAMA is a non-profit organization dedicated to educating, inspiring, and promoting excellence in
mosaic arts. To achieve this mission, SAMA organizes programs, events, and activities designed to:
• Attract and retain members who value excellence in mosaics
• Educate both the art community and the public regarding contemporary and classical mosaic arts
• Provide opportunities for unlimited creative and professional growth
• Foster and sustain a mosaic community where members are encouraged to explore the
full potential of the art form
Shug Jones is president of SAMA and operates her own mosaic studio with her business partner,
Julie Dilling. She also teaches mosaic workshops across the country and internationally.
16 Society of American Mosaic Artists
Irina Charny and Crocker Chief Curator and Associate
Director Scott Shields, Ph.D.
As curator of Mosaic Art Now’s Exhibition in Print,
Dr. Shields selected Primavera as one of 18 mosaics
(from a total of 528 submissions) for the exhibit.
Ms. Charny is seen presenting Primavera to Dr. Shields
in April 2010.
For more on Irina Charny: www.icmosaics.com
For more on Crocker Art Museum:
www.crockermuseum.org
The Education Committee
Your Source for
Orsoni Smalti and Mosaic Gold
SAMA’s Long-Term Goals (to be realized by 2020)
• Become a globally recognized mosaic arts organization
• Create strong ties to other arts organizations around the world
• Develop a premier web presence:
• inclusive of online affiliates and social networking circles
• providing fresh content and information regarding upcoming events
• with links to art happenings, articles, resources, and opportunities
• Cultivate a growing membership worldwide
• Nurture regional SAMA sub-groups in addition to the national SAMA organization:
• Local opportunities for exhibition
• Regional workshops and mini-conferences
• Links/introductions to regional galleries
• Diversify revenue sources, providing for self-financed growth/financial security
• Enhance service levels in all aspects of SAMA operations
• Expand membership involvement through volunteer opportunities
Crocker Art Museum
of Sacramento, California
Acquires Contemporary Mosaic
Photo: Ben Charny
A Report on the SAMA Annual Board Retreat
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866-432-5369
SAMA members receive a 5% discount by
using the promotional code SAMA
777-!29,!.$-/3!)#3#/-
SAMA developed the Education Committee approximately five years ago in an
effort to further their mission of educating, inspiring, and promoting excellence
in fine mosaic art. It is a standing committee charged with the task of researching, creating, developing, maintaining, and overseeing programs by which SAMA
provides educational opportunities to its members and the general public.
This committee works in tandem with, and with oversight from, the other committees: Executive, Scholarship, Web, Exhibitions, PR/Communications, and Conference. It reports to the Board of Trustees at monthly meetings. Andrea Shreve
Taylor was the first committee chairperson, followed by Hillary Sloate.
To date, this committee (comprised entirely of volunteers) has primarily helped
to shape the conference workshops and presentations. We continue to attract
world-renowned instructors and lecturers. In Chicago 2010, 280 students took
multiple workshops, totaling 630 workshop seats. We remain the largest mosaic
education event in the world. Additionally, a core of expert mosaicists maintains
and responds to Ask A Pro questions from the website. We have also been listening to member requests and researching potential educational ventures.
Over the next few years, SAMA’s Education Committee will broaden its reach to
offer workshops and programs to a wider range of members and mosaic enthusiasts. This year, we created a lesson plan to compliment the MAI exhibition. Other
programs in development are: Train the Trainer, a mosaic instructor certification
program; traveling slide shows and lectures on the Art and History of Mosaic; and
regional workshops.
If you would like to have a role in SAMA’s educational offerings, please contact
hsloate@americanmosaics.org.
—Hillary Sloate
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Society of American Mosaic Artists 17
Contributors
Volunteer Spotlight
Laura
Rendlen
It’s hard not to gush when I talk about SAMA.
Thank You SAMA 2010 Sustaining Sponsors!
Diamond Circle
Sustaining Contributor
The Chicago Mosaic School
Five years ago, after my first conference, I knew I had found “my people.” This group held
a shared sense of purpose, and I wanted to be a part of it. Previously, I had been working
in a vacuum, and at SAMA there were lectures, discussions, and so much exposure to
new techniques. I called it “graduate school in a weekend.”
Gold Circle
Sustaining Contributors
Mosaic Rocks! &
Mosaic Art Yearbook
WitsEnd Mosaic
President’s Circle
Sustaining Contributors
Laticrete International &
Smalti.com &
Perdomo Smalti
Mosaicos Bizantinos
I wanted to learn it all. The best way to do that was to get involved in the organization.
I have had a blast volunteering in workshops, registration, the SAMA store, the raffle,
and more. I have learned so much from just talking with people, establishing lifelong
friendships, and even receiving a few freebies from vendors.
I also learned how truly wonderful this organization is. The people behind the scenes
Bronze Circle
Sustaining Contributors
D&D Tile &
Jacqueline Iskander Mosaics
di Mosaico
JeanAnn Dabb
Mosaic Smalti
Mosaicartists.org
MOSAICO–
Society of Houston
Mosaic Artists
Plum Art Mosaics
Ranco–Lubbock, TX
Silver Circle Sustaining
Contributors
SAMA Board of Trustees
are organized, dedicated, and well directed. I have assisted the Sponsorship Committee
and the Public Relations Committee, and most recently I served as coordinator of the
Vendor Marketplace in Chicago. It was very exciting, and I was never overwhelmed
because we all shared the work.
Photo: Ethan Rendlen
I love being a part of SAMA. Through the combined efforts of so many, we have created
a world in which we can all develop and thrive.
—Laura Rendlen
Volunteer /2010 Vendor Marketplace Coordinator
www.LRFinemosaics.com
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and listings
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sponsorship opportunities
Society of American Mosaic Artists 19
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