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MOSAIC ART NOW
Exhibition in Print
2010
Exhibition in Print
Curator’s Statement
G
iven that the history of mosaic art began more than
4,000 years ago and many works of mosaic art stand
as some of the most enduring icons of art history, it is
surprising just how many people today continue to think
of mosaic making as the work of craftspeople rather
than artists. Yet one only has to look to the beauty of the
Greek wall decorations at Pompeii, Roman floor mosaics,
the shimmering splendor of Byzantine interiors, and
the organic undulations of Antoni Gaudí’s Art Nouveau
creations at Park Güell to be certain that mosaics can, and
do, aspire to the highest echelons of human expression.
The lingering assumption that mosaics are craft stems
in part from the fact that much mosaic art is not only
visual, but utilitarian, and meant to bedeck floors, walls,
ceilings, and the exterior of buildings. Yet painted murals
perform many of these same functions, and few would
argue that paintings, by virtue of their being incorporated
into architecture, are not art. Others have belittled the
mosaic medium by saying that the technique is simply too
accessible, believing it to be an activity that anyone can
participate in.
To be sure, most of us made mosaics as children, often
using dried beans, cut paper, and other objects found
around the house. Yet few of us have gone beyond these
humble beginnings. Of the practitioners that have, even
fewer have taken their craft to the level of art. All of the
pieces included here were made by artists—ones who have
added to the mosaic tradition and pushed its boundaries,
each time making abundantly evident that the art form is
alive and well.
To create art, conception and execution are equally
required. In other words, some artists have ideas; others
have technique. Those that bring both to the fore and can
do it consistently are the artists. The medium itself matters
little. It is the mastery of that medium, regardless of genre
or utility, that his important. This technical mastery is a
necessity. Without it, the end result is compromised—no
matter how good the idea.
As in the case of other traditional “craft” media such
as glass, clay, and wood, mosaic artists have in recent
decades begun to re-emerge in force internationally,
which the beautiful diversity of production included here
makes evident. As juror, it was my intent to try to show the
breadth of global talent that submitted to this competition
60
Mosaic Art NOW No. 3 2010
and, fortunately, excellent work was submitted in all
techniques and styles. The artworks I chose to include
exemplify a broad range of trends. Landscapes, figures,
and pure abstractions were all worthy of inclusion. Flat
works and objects in three-dimensions were both skillfully
executed. Perhaps ironically—for a medium known for
its functionality—very few of the mosaics submitted were
meant to be used. One of these was selected, Don’t Cut
Your Tounge on the Rhinestones, a vintage cash drawer
ornamented with myriad tiles and found objects. A jewelry
box extraordinaire, its usability nevertheless plays a minor
role; this object is truly purposed to make viewers smile.
Other artists found humor and whimsy in their medium
and attained it by appropriating the past. These artists did
not simply copy their sources, however, but used them as
points of departure to make social comment and invoke
nostalgia and a sense of innocence lost. The glitzy Miss
Willendorf uses mosaic to fashion an updated, and far more
secular, version of an ancient fertility idol, a comment
on the consumerism and superficiality of contemporary
society. Spaghetti Western appropriates kitsch by adapting
and then embellishing a 1950s paint-by-number cowboy
and bucking bronco. Surrounding this central image with
ashtrays, belt buckles, toy guns, and spurs, the artist has
created a pop icon that simultaneously oozes nostalgia
and critiques consumer culture. White Rabbit also looks
nostalgically at the past, but with a less cynical edge. With
painstaking and gorgeous attention to detail, the artist
turns to childhood literature to remind us of the frenzied
pace of our own lives through that of the late-running hare.
All of the artists whose work is depicted were true to
their medium and exploited its unique expressive potential,
and all of them brought depth and diversity to their pieces
by using tesserae in a range of materials, shapes, and sizes.
The work titled Ramblings focuses on the rich beauty of
the artist’s materials, combining an infinitude of glass,
semi-precious stones, millefiori, and smalti to create a
lush abstraction that seems to have evolved organically
and yet results in a remarkably cohesive whole. Others
took advantage of their medium’s ability to assume three
dimensions by richly layering forms, as in the case of Bull’s
Eye and also Notturno, both of which breach the picture
plane into luscious sweeping forms and patterns. Keep Me
Warm uses this same approach but with a more homespun
result. Rippling mosaic squares become the drapery folds
of a quilt that figuratively offers a traditional sense of
family and community. In Primavera, flowers and leaves
grow organically beyond the picture plane to culminate in
a sculptural, blue-eye-shadowed Mother Nature and bird.
Other artists omitted backgrounds altogether, creating
sculpture in the round. Late Bloomer, Geology, and Meredith
each look to nature for inspiration, finding harmony and
universality in its microcosm. Late Bloomer is cocoon-like,
incorporating silk fibers into the “skin” of a pod that also
includes shells, turquoise, and gemstones. Geology delves
beyond the earth’s strata to allow us to peer into hidden
realms. Meredith evokes the bark of an ancient tree, the
gorgeousness of the glass tiles both revealed and obscured
by the mortar, which plays an integral in this complex, and
yet very subtle, piece.
Other artists approached their mosaic layers not as
sculptors, but almost as painters. Carterton Lily Pond and
Familiar Ground offer new takes on old subjects, yet are
distinguished by the freshness of their approach. Familiar
Ground takes landscape representation into conceptual
realms through its incorporation of materials gathered
from the Wisconsin site that is depicted. A more abstract
approach to nature is evident in Sidonea Menageria, a
tree of life that boasts watch-bellied birds perching on its
gnarled branches. February Morning, Paris also features
trees, but these are hauntingly barren, contributing to
the paramount sense of loneliness of a nearly deserted
Parisian street.
Quite apart from the tranquility and quietude of
these images, No! and Maria provide two very different,
although equally disturbing, takes on contemporary life,
each with elements of humor. While No! suggests through
the actions of a child a universal human frustration at our
lack of control over politics, the system, and our destiny,
Maria evokes through a robotic goddess the future itself,
one in which we have lost our humanity to technology and
the machine.
As these pieces make evident, mosaics are as diverse
an art form as any other and at once contribute to and
participate in international aesthetic trends. It is my hope
that the pieces selected here prove as inspirational and
eye-opening to the readers of this magazine as they were
to me. Distinguished by a synthesis of original approach,
technical realization, and formal achievement reflecting
the personal creative vision of the artist, each piece, in
its unique way, brings new vitality and contemporary
perspectives to this ancient and enduring medium.
Scott A. Shields, Ph.D.
Associate Director and Chief Curator
Crocker Art Museum, Sacramento
About the Exhibition in Print
W
hen we thought last year about possible
enhancements to the Mosaic Gallery feature
of Mosaic Art NOW, we knew we wanted to do
something bigger, better, bolder. We wanted to do
everything we could to present mosaics as fine art.
We looked to our own jaw-dropping, never forgotten
experiences at art exhibits for inspiration. What
had made those particular museum/gallery visits so
special?
Our list started with the phrase great art and
quickly progressed to selective, a cohesive body
of work, curator commentary, interesting artist
statements, the ability to linger over a piece and
return for closer investigation, something is learned,
and finally, the ability to purchase. So, we set out to
do all those things – in print. Here is how things
transpired:
Step One: Attract submissions from mosaic
artists. A prize for Best in Show was determined.
We created an on-line submittal process. The
opportunity to submit work was announced in
mosaic circles around the world. Press releases and
fliers went to museums and schools. And we crossed
our fingers. By deadline, 301 artists from 26 countries
had submitted 528 mosaics for consideration.
Step Two: Secure the services of an art
professional with high-quality credentials in judging
and curating. We approached Dr. Shields, Chief
Curator of the Crocker Art Museum in Sacramento,
California. The exhibition was explained. Dr. Shields
found the opportunity intriguing. A professional fee
for his service was agreed upon. We had our curator.
Step Three: Execute a fair jurying process. The
jurying process was designed to meet the standards
of Dr. Shields and the expectations of submitting
artists. Each work was assigned a random number
for blind identification purposes. Dr. Shields used
three different media in his multiple reviews of each
mosaic: prints, digital images, and large-screen
projections. When he had narrowed his candidates
down to a manageable number, Dr. Shields used a
table and the prints to create an “exhibition” that
was both cohesive and representative of the various
genres within the art form. He then selected the
Best in Show mosaic.
Step Four: “Hang” the exhibit. As you will
see on the following pages, we created two-page
layouts for each work with multiple, high-resolution
photographs. Artists were offered editorial
assistance with their statements and photographs.
Finally, we put together the Artist Information/Price
Sheet you see at the end of the exhibit. We will be
replicating the sheet online. Our hope is that soon
there will be “red dots” next to all available mosaics.
We hope you enjoy the Exhibition in Print half as
much we enjoyed putting it together. In the process,
we discovered several marvelous new artists, had
some interesting conversations about the nature of
mosaics, and were able to go behind the scenes in a
jurying process conducted by a professional.
And to all the artists who submitted works,
grazie mille.
Mosaic Art Now No. 3 2010
61
Exhibition in Print
Curator’s Statement
G
iven that the history of mosaic art began more than
4,000 years ago and many works of mosaic art stand
as some of the most enduring icons of art history, it is
surprising just how many people today continue to think
of mosaic making as the work of craftspeople rather
than artists. Yet one only has to look to the beauty of the
Greek wall decorations at Pompeii, Roman floor mosaics,
the shimmering splendor of Byzantine interiors, and
the organic undulations of Antoni Gaudí’s Art Nouveau
creations at Park Güell to be certain that mosaics can, and
do, aspire to the highest echelons of human expression.
The lingering assumption that mosaics are craft stems
in part from the fact that much mosaic art is not only
visual, but utilitarian, and meant to bedeck floors, walls,
ceilings, and the exterior of buildings. Yet painted murals
perform many of these same functions, and few would
argue that paintings, by virtue of their being incorporated
into architecture, are not art. Others have belittled the
mosaic medium by saying that the technique is simply too
accessible, believing it to be an activity that anyone can
participate in.
To be sure, most of us made mosaics as children, often
using dried beans, cut paper, and other objects found
around the house. Yet few of us have gone beyond these
humble beginnings. Of the practitioners that have, even
fewer have taken their craft to the level of art. All of the
pieces included here were made by artists—ones who have
added to the mosaic tradition and pushed its boundaries,
each time making abundantly evident that the art form is
alive and well.
To create art, conception and execution are equally
required. In other words, some artists have ideas; others
have technique. Those that bring both to the fore and can
do it consistently are the artists. The medium itself matters
little. It is the mastery of that medium, regardless of genre
or utility, that his important. This technical mastery is a
necessity. Without it, the end result is compromised—no
matter how good the idea.
As in the case of other traditional “craft” media such
as glass, clay, and wood, mosaic artists have in recent
decades begun to re-emerge in force internationally,
which the beautiful diversity of production included here
makes evident. As juror, it was my intent to try to show the
breadth of global talent that submitted to this competition
60
Mosaic Art NOW No. 3 2010
and, fortunately, excellent work was submitted in all
techniques and styles. The artworks I chose to include
exemplify a broad range of trends. Landscapes, figures,
and pure abstractions were all worthy of inclusion. Flat
works and objects in three-dimensions were both skillfully
executed. Perhaps ironically—for a medium known for
its functionality—very few of the mosaics submitted were
meant to be used. One of these was selected, Don’t Cut
Your Tounge on the Rhinestones, a vintage cash drawer
ornamented with myriad tiles and found objects. A jewelry
box extraordinaire, its usability nevertheless plays a minor
role; this object is truly purposed to make viewers smile.
Other artists found humor and whimsy in their medium
and attained it by appropriating the past. These artists did
not simply copy their sources, however, but used them as
points of departure to make social comment and invoke
nostalgia and a sense of innocence lost. The glitzy Miss
Willendorf uses mosaic to fashion an updated, and far more
secular, version of an ancient fertility idol, a comment
on the consumerism and superficiality of contemporary
society. Spaghetti Western appropriates kitsch by adapting
and then embellishing a 1950s paint-by-number cowboy
and bucking bronco. Surrounding this central image with
ashtrays, belt buckles, toy guns, and spurs, the artist has
created a pop icon that simultaneously oozes nostalgia
and critiques consumer culture. White Rabbit also looks
nostalgically at the past, but with a less cynical edge. With
painstaking and gorgeous attention to detail, the artist
turns to childhood literature to remind us of the frenzied
pace of our own lives through that of the late-running hare.
All of the artists whose work is depicted were true to
their medium and exploited its unique expressive potential,
and all of them brought depth and diversity to their pieces
by using tesserae in a range of materials, shapes, and sizes.
The work titled Ramblings focuses on the rich beauty of
the artist’s materials, combining an infinitude of glass,
semi-precious stones, millefiori, and smalti to create a
lush abstraction that seems to have evolved organically
and yet results in a remarkably cohesive whole. Others
took advantage of their medium’s ability to assume three
dimensions by richly layering forms, as in the case of Bull’s
Eye and also Notturno, both of which breach the picture
plane into luscious sweeping forms and patterns. Keep Me
Warm uses this same approach but with a more homespun
result. Rippling mosaic squares become the drapery folds
of a quilt that figuratively offers a traditional sense of
family and community. In Primavera, flowers and leaves
grow organically beyond the picture plane to culminate in
a sculptural, blue-eye-shadowed Mother Nature and bird.
Other artists omitted backgrounds altogether, creating
sculpture in the round. Late Bloomer, Geology, and Meredith
each look to nature for inspiration, finding harmony and
universality in its microcosm. Late Bloomer is cocoon-like,
incorporating silk fibers into the “skin” of a pod that also
includes shells, turquoise, and gemstones. Geology delves
beyond the earth’s strata to allow us to peer into hidden
realms. Meredith evokes the bark of an ancient tree, the
gorgeousness of the glass tiles both revealed and obscured
by the mortar, which plays an integral in this complex, and
yet very subtle, piece.
Other artists approached their mosaic layers not as
sculptors, but almost as painters. Carterton Lily Pond and
Familiar Ground offer new takes on old subjects, yet are
distinguished by the freshness of their approach. Familiar
Ground takes landscape representation into conceptual
realms through its incorporation of materials gathered
from the Wisconsin site that is depicted. A more abstract
approach to nature is evident in Sidonea Menageria, a
tree of life that boasts watch-bellied birds perching on its
gnarled branches. February Morning, Paris also features
trees, but these are hauntingly barren, contributing to
the paramount sense of loneliness of a nearly deserted
Parisian street.
Quite apart from the tranquility and quietude of
these images, No! and Maria provide two very different,
although equally disturbing, takes on contemporary life,
each with elements of humor. While No! suggests through
the actions of a child a universal human frustration at our
lack of control over politics, the system, and our destiny,
Maria evokes through a robotic goddess the future itself,
one in which we have lost our humanity to technology and
the machine.
As these pieces make evident, mosaics are as diverse
an art form as any other and at once contribute to and
participate in international aesthetic trends. It is my hope
that the pieces selected here prove as inspirational and
eye-opening to the readers of this magazine as they were
to me. Distinguished by a synthesis of original approach,
technical realization, and formal achievement reflecting
the personal creative vision of the artist, each piece, in
its unique way, brings new vitality and contemporary
perspectives to this ancient and enduring medium.
Scott A. Shields, Ph.D.
Associate Director and Chief Curator
Crocker Art Museum, Sacramento
About the Exhibition in Print
W
hen we thought last year about possible
enhancements to the Mosaic Gallery feature
of Mosaic Art NOW, we knew we wanted to do
something bigger, better, bolder. We wanted to do
everything we could to present mosaics as fine art.
We looked to our own jaw-dropping, never forgotten
experiences at art exhibits for inspiration. What
had made those particular museum/gallery visits so
special?
Our list started with the phrase great art and
quickly progressed to selective, a cohesive body
of work, curator commentary, interesting artist
statements, the ability to linger over a piece and
return for closer investigation, something is learned,
and finally, the ability to purchase. So, we set out to
do all those things – in print. Here is how things
transpired:
Step One: Attract submissions from mosaic
artists. A prize for Best in Show was determined.
We created an on-line submittal process. The
opportunity to submit work was announced in
mosaic circles around the world. Press releases and
fliers went to museums and schools. And we crossed
our fingers. By deadline, 301 artists from 26 countries
had submitted 528 mosaics for consideration.
Step Two: Secure the services of an art
professional with high-quality credentials in judging
and curating. We approached Dr. Shields, Chief
Curator of the Crocker Art Museum in Sacramento,
California. The exhibition was explained. Dr. Shields
found the opportunity intriguing. A professional fee
for his service was agreed upon. We had our curator.
Step Three: Execute a fair jurying process. The
jurying process was designed to meet the standards
of Dr. Shields and the expectations of submitting
artists. Each work was assigned a random number
for blind identification purposes. Dr. Shields used
three different media in his multiple reviews of each
mosaic: prints, digital images, and large-screen
projections. When he had narrowed his candidates
down to a manageable number, Dr. Shields used a
table and the prints to create an “exhibition” that
was both cohesive and representative of the various
genres within the art form. He then selected the
Best in Show mosaic.
Step Four: “Hang” the exhibit. As you will
see on the following pages, we created two-page
layouts for each work with multiple, high-resolution
photographs. Artists were offered editorial
assistance with their statements and photographs.
Finally, we put together the Artist Information/Price
Sheet you see at the end of the exhibit. We will be
replicating the sheet online. Our hope is that soon
there will be “red dots” next to all available mosaics.
We hope you enjoy the Exhibition in Print half as
much we enjoyed putting it together. In the process,
we discovered several marvelous new artists, had
some interesting conversations about the nature of
mosaics, and were able to go behind the scenes in a
jurying process conducted by a professional.
And to all the artists who submitted works,
grazie mille.
Mosaic Art Now No. 3 2010
61
Exhibition in Print
Best in Show
Ellen Blakeley (USA)
Meredith
23 h x 7 w inches. Tempered glass, bark.
There is a gigantic California Live Oak tree in the vineyard near my studio that is shedding its bark, its skin. As an
artist, I can’t compete with nature — merely pay my respects intuitively. The shape is gently curved. The outline is
organic, random and totally non-human — delightful boundaries to work into.
Photographer: Douglas Sandberg
62
Mosaic Art NOW No. 3 2010
Exhibition in Print
Best in Show
Ellen Blakeley (USA)
Meredith
23 h x 7 w inches. Tempered glass, bark.
There is a gigantic California Live Oak tree in the vineyard near my studio that is shedding its bark, its skin. As an
artist, I can’t compete with nature — merely pay my respects intuitively. The shape is gently curved. The outline is
organic, random and totally non-human — delightful boundaries to work into.
Photographer: Douglas Sandberg
62
Mosaic Art NOW No. 3 2010
Exhibition in Print
Doreen Adams (USA)
White Rabbit
36 h x 20 w inches. Venetian and Mexican smalti.
“One tesserae at a time, painstaking, laborious, such is the truth of mosaic art. Opus veritas.” -- Massimiliano Salviati
“Oh Dear! Oh Dear! I shall be late!” — The White Rabbit
This is one of a series of mosaics I have made investigating the themes of Lewis Carroll’s “Alice’s Adventures in Wonderland.”
I chose to render The White Rabbit larger than life to accentuate his urgency as he rushed through the scene checking his
watch. Depicting the lushness and tranquility of an English meadow in the corresponding close detail, however, required the
kind of commitment that makes a mosaic a labor of love. Every piece of glass was thoughtfully and carefully chosen to infuse
as much movement, emotion, realism and humor into the scene as possible.
64
Mosaic Art NOW No. 3 2010
Exhibition in Print
Doreen Adams (USA)
White Rabbit
36 h x 20 w inches. Venetian and Mexican smalti.
“One tesserae at a time, painstaking, laborious, such is the truth of mosaic art. Opus veritas.” -- Massimiliano Salviati
“Oh Dear! Oh Dear! I shall be late!” — The White Rabbit
This is one of a series of mosaics I have made investigating the themes of Lewis Carroll’s “Alice’s Adventures in Wonderland.”
I chose to render The White Rabbit larger than life to accentuate his urgency as he rushed through the scene checking his
watch. Depicting the lushness and tranquility of an English meadow in the corresponding close detail, however, required the
kind of commitment that makes a mosaic a labor of love. Every piece of glass was thoughtfully and carefully chosen to infuse
as much movement, emotion, realism and humor into the scene as possible.
64
Mosaic Art NOW No. 3 2010
Exhibition in Print
Jolino Beserra (USA)
Don’t Cut Your Tongue on the Rhinestones
20 w x 20 d x 28 h inches. Vintage cash-drawer, carved packing foam for the heart, and cast iron feet from a small room heater. The surfaces
are covered in ceramic tile, glass tiles, smalti bits, blue mirror, dish ware, bowls, mugs, mirrored bottle bottoms, figurines, miniature soda bottle,
salt and pepper shakers, brooches, stick pins, medals, marbles, GM keys, tongue milagros, rhinestones and a perfume bottle. The removable
stopper has red glass beads attached.
This mosaic is my statement about Temptation and the allure of all things shiny. My concept was to start with the “flaming heart” icon and create
a functional piece of art around it. A small metal box in the back of the piece holds a button that opens the money draw with a BING. When you
remove the glass “flame” at the top, you will find a rosary attached with a silver tongue milagro at the end of which sits a large rhinestone.
Photographer: Don Saban Photography
66
Mosaic Art NOW No. 3 2010
Exhibition in Print
Jolino Beserra (USA)
Don’t Cut Your Tongue on the Rhinestones
20 w x 20 d x 28 h inches. Vintage cash-drawer, carved packing foam for the heart, and cast iron feet from a small room heater. The surfaces
are covered in ceramic tile, glass tiles, smalti bits, blue mirror, dish ware, bowls, mugs, mirrored bottle bottoms, figurines, miniature soda bottle,
salt and pepper shakers, brooches, stick pins, medals, marbles, GM keys, tongue milagros, rhinestones and a perfume bottle. The removable
stopper has red glass beads attached.
This mosaic is my statement about Temptation and the allure of all things shiny. My concept was to start with the “flaming heart” icon and create
a functional piece of art around it. A small metal box in the back of the piece holds a button that opens the money draw with a BING. When you
remove the glass “flame” at the top, you will find a rosary attached with a silver tongue milagro at the end of which sits a large rhinestone.
Photographer: Don Saban Photography
66
Mosaic Art NOW No. 3 2010
Exhibition in Print
Irina Charny (USA)
Primavera
45 h x 14 w x 3 d inches. Smalti, gold, vitreous glass, millefiori, pebbles.
Making mosaics gives me the chance to explore color, shape and texture while creating images that are both
narrative and decorative. I am Russian by birth and the fantastical fairy tales and rich textures of my childhood
seem to permeate my artwork often without my awareness of their influence. Primavera is Spring emerging in all
her lushness and promise of new beginnings.
Photographer credit: Ben Charny
68
Mosaic Art NOW No. 3 2010
Exhibition in Print
Irina Charny (USA)
Primavera
45 h x 14 w x 3 d inches. Smalti, gold, vitreous glass, millefiori, pebbles.
Making mosaics gives me the chance to explore color, shape and texture while creating images that are both
narrative and decorative. I am Russian by birth and the fantastical fairy tales and rich textures of my childhood
seem to permeate my artwork often without my awareness of their influence. Primavera is Spring emerging in all
her lushness and promise of new beginnings.
Photographer credit: Ben Charny
68
Mosaic Art NOW No. 3 2010
Exhibition in Print
Maylee Christie (United Kingdom)
Ramblings
70 h x 60 w centimeters. Smalti, stained glass, semi precious stones, gold, mirror, millefiori.
This mosaic grew slowly and intuitively over a period of several months. Usually, I concentrate on making patterns
in my work because they have a very soothing effect on me. With this piece, I just let my mind create freely in a
sort of fluid way. The result was some new, unexpected shapes that presented themselves almost magically —
making an endless feast for my eyes and mind.
70
Mosaic Art NOW No. 3 2010
Exhibition in Print
Maylee Christie (United Kingdom)
Ramblings
70 h x 60 w centimeters. Smalti, stained glass, semi precious stones, gold, mirror, millefiori.
This mosaic grew slowly and intuitively over a period of several months. Usually, I concentrate on making patterns
in my work because they have a very soothing effect on me. With this piece, I just let my mind create freely in a
sort of fluid way. The result was some new, unexpected shapes that presented themselves almost magically —
making an endless feast for my eyes and mind.
70
Mosaic Art NOW No. 3 2010
Exhibition in Print
Candace Clough (USA)
Sidonea Menageria
24 h x 36 w inches. Stained glass, plate shards, vitreous, jewelry, watches, unglazed porcelian, polymer clay, keys, polished
tigereye and agate, glass globs and shapes.
My challenge in making this piece was to create something that would captivate and hold the imagination of a child with no
mobility. How long can a person savor a beloved piece of art before it becomes just another known thing? Seeing the same thing
day in and day out, our mind often begins takes beauty and detail for granted. How then to create a myriad of facets — texture,
color, reflection — that would capture the long term interest of the consummate viewer — a child unfettered by distractions?
Whose only play is study and imagination? My answer was this mythical tree, Sidonea menageria.
Photographer: Gregory R. Staley Photography
72
Mosaic Art NOW No. 3 2010
Exhibition in Print
Candace Clough (USA)
Sidonea Menageria
24 h x 36 w inches. Stained glass, plate shards, vitreous, jewelry, watches, unglazed porcelian, polymer clay, keys, polished
tigereye and agate, glass globs and shapes.
My challenge in making this piece was to create something that would captivate and hold the imagination of a child with no
mobility. How long can a person savor a beloved piece of art before it becomes just another known thing? Seeing the same thing
day in and day out, our mind often begins takes beauty and detail for granted. How then to create a myriad of facets — texture,
color, reflection — that would capture the long term interest of the consummate viewer — a child unfettered by distractions?
Whose only play is study and imagination? My answer was this mythical tree, Sidonea menageria.
Photographer: Gregory R. Staley Photography
72
Mosaic Art NOW No. 3 2010
Exhibition in Print
Piotr Czapracki (Poland)
No!
100 h x 90 w centimeters. Hand-made ceramic, glass.
The mosaic “No!” is a visual exploration of the idea of man’s loneliness — the helplessness and frustration he feels
— his resulting aggression against the world; politics, big corporations and the system.
74
Mosaic Art NOW No. 3 2010
Exhibition in Print
Piotr Czapracki (Poland)
No!
100 h x 90 w centimeters. Hand-made ceramic, glass.
The mosaic “No!” is a visual exploration of the idea of man’s loneliness — the helplessness and frustration he feels
— his resulting aggression against the world; politics, big corporations and the system.
74
Mosaic Art NOW No. 3 2010
Exhibition in Print
Julie Dilling (USA)
Keep Me Warm
22 h x 17.5 w x 2.5 inches. Smalti, stained glass, glass beads, millefiori.
I was looking at family quilts recently and decided to make my own version. It may not warm the bones, but I hope
it warms the heart.
76
Mosaic Art NOW No. 3 2010
Exhibition in Print
Julie Dilling (USA)
Keep Me Warm
22 h x 17.5 w x 2.5 inches. Smalti, stained glass, glass beads, millefiori.
I was looking at family quilts recently and decided to make my own version. It may not warm the bones, but I hope
it warms the heart.
76
Mosaic Art NOW No. 3 2010
Exhibition in Print
Karen Kettering Dimit (USA)
Miss Willendorf 2008
36 h x 22 w x 22 d inches. Gold smalti, smalti, stone, rhinestones, sodalite, bahia blue, kyanite, hardware, mirror,
metal, resin.
“Miss Willendorf 2008” is part of my “The Subway Goddess Pageant” series in which I juxtapose powerful, ancient
goddesses carved in stone with contemporary goddesses, one might run into on the subway, created in mosaic.
These works are light-hearted in imagery, but they are also tinged with a sense of something lost. The supreme selfconfidence of those robust goddesses seems to have given way to something far less sure and sadly superficial.
78
Mosaic Art NOW No. 3 2010
Exhibition in Print
Karen Kettering Dimit (USA)
Miss Willendorf 2008
36 h x 22 w x 22 d inches. Gold smalti, smalti, stone, rhinestones, sodalite, bahia blue, kyanite, hardware, mirror,
metal, resin.
“Miss Willendorf 2008” is part of my “The Subway Goddess Pageant” series in which I juxtapose powerful, ancient
goddesses carved in stone with contemporary goddesses, one might run into on the subway, created in mosaic.
These works are light-hearted in imagery, but they are also tinged with a sense of something lost. The supreme selfconfidence of those robust goddesses seems to have given way to something far less sure and sadly superficial.
78
Mosaic Art NOW No. 3 2010
Exhibition in Print
Gary Drostle (United Kingdom)
Carterton Lily Pond
2 h x 2 w meters. Unglazed vitreous ceramic (porcelain) and vitreous glass.
In this work, I wanted to show that particular state of water where it creates a net-like pattern across the surface. This net is
rendered in glass so that it reflects the light brilliantly as opposed to the matte, ceramic tiles used in the rest of the work. Some
elements lying below the surface have their images broken by the water, whilst others interrupt the water’s flow, creating ripples
and eddies on the surface. The shadows remind us that the surface itself is just a transition to the depths.
The mosaic was commissioned by the town of Carterton near Oxford in southern England. The mosaic was intended to provide
a relaxing focal point for their town square’s pavement.
80
Mosaic Art NOW No. 3 2010
Exhibition in Print
Gary Drostle (United Kingdom)
Carterton Lily Pond
2 h x 2 w meters. Unglazed vitreous ceramic (porcelain) and vitreous glass.
In this work, I wanted to show that particular state of water where it creates a net-like pattern across the surface. This net is
rendered in glass so that it reflects the light brilliantly as opposed to the matte, ceramic tiles used in the rest of the work. Some
elements lying below the surface have their images broken by the water, whilst others interrupt the water’s flow, creating ripples
and eddies on the surface. The shadows remind us that the surface itself is just a transition to the depths.
The mosaic was commissioned by the town of Carterton near Oxford in southern England. The mosaic was intended to provide
a relaxing focal point for their town square’s pavement.
80
Mosaic Art NOW No. 3 2010
Exhibition in Print
Sophie Drouin (Canada)
Bull’s Eye
28 h x 33 w 6 d inches. Marble, gold, onyx, travertine, scheelite, quartz, selenite, raku shards, copper foils and wire, glass,
smalti, brick, Eco smalti, black and mahogany obsidian, terra cotta, dihroic glass, stained glass, mirror, opal, sandstone, slate,
calcite.
The form of this mosaic is an abstract organic one, depicting aspects of microscopic life, flowers, mother of pearl or even cosmic
events like a nova and its lingering afterglow, the nebula. Paradoxically, the graceful aspect of a nebula belies the galactic
violence inherent in its creation and our observation of its beauty is only possible from a great and safe distance. To simulate
some of this explosive activity, spears of flying tesserae shear away from the surface of the mosaic which rises in petal-shaped
crests around the central and concentric embers of the ‘‘eye’’ lying under a thin copper web.
82
Mosaic Art NOW No. 3 2010
Exhibition in Print
Sophie Drouin (Canada)
Bull’s Eye
28 h x 33 w 6 d inches. Marble, gold, onyx, travertine, scheelite, quartz, selenite, raku shards, copper foils and wire, glass,
smalti, brick, Eco smalti, black and mahogany obsidian, terra cotta, dihroic glass, stained glass, mirror, opal, sandstone, slate,
calcite.
The form of this mosaic is an abstract organic one, depicting aspects of microscopic life, flowers, mother of pearl or even cosmic
events like a nova and its lingering afterglow, the nebula. Paradoxically, the graceful aspect of a nebula belies the galactic
violence inherent in its creation and our observation of its beauty is only possible from a great and safe distance. To simulate
some of this explosive activity, spears of flying tesserae shear away from the surface of the mosaic which rises in petal-shaped
crests around the central and concentric embers of the ‘‘eye’’ lying under a thin copper web.
82
Mosaic Art NOW No. 3 2010
Exhibition in Print
Pamela Goode (USA)
Late Bloomer
23 h x 36 w 8 d inches. Smalti, turquoise, minerals, gemstones, shell, metal, silk threads, glass on carved
styrofoam base, carborundum on wire mesh branch, beaded insect leg.
Late Bloomer illustrates my own slow emergence into self-expression. Partly inspired by Mesoamerican turquoise
mosaics, I wanted to convey the opening of an ancient cocoon — mossy, barnacled, faded and filigreed with shiny,
intricately beautiful insect paths — to reveal a fragile creature emerging far past the normal gestation period. I
believe many can relate to this theme as we often wait until relatively late in life to give our creativity full rein.
Photographer: Mark Fortenberry
84
Mosaic Art NOW No. 3 2010
Exhibition in Print
Pamela Goode (USA)
Late Bloomer
23 h x 36 w 8 d inches. Smalti, turquoise, minerals, gemstones, shell, metal, silk threads, glass on carved
styrofoam base, carborundum on wire mesh branch, beaded insect leg.
Late Bloomer illustrates my own slow emergence into self-expression. Partly inspired by Mesoamerican turquoise
mosaics, I wanted to convey the opening of an ancient cocoon — mossy, barnacled, faded and filigreed with shiny,
intricately beautiful insect paths — to reveal a fragile creature emerging far past the normal gestation period. I
believe many can relate to this theme as we often wait until relatively late in life to give our creativity full rein.
Photographer: Mark Fortenberry
84
Mosaic Art NOW No. 3 2010
Exhibition in Print
Jeannie Houston Antes (USA)
Spaghetti Western
42 h x 48 w inches. Italian and Mexican smalti built on tempered glass and lit from within. Western and Americana found objects
in a handmade barnwood frame.
This mosaic is my homage to the world’s fascination with the American West. The piece started with the cowboy and bucking
horse image inspired by a 1950’s paint-by-numbers kit. In a nod to the Italo-Western films of the mid-sixties, I decided to use
classic Italian glass smalti for that part of the mosaic and “Spaghetti Western” just took of from there. Spilling over onto the border
or “frame” is a juxtaposition of iconic cowboy items from my obsessive thrifting; collection-trophy belt buckles, turquoise jewelry,
ashtrays, toy guns and rusty spurs. The found objects stir up memories and associations in the viewer which inspires me to keep
telling stories with my mixed media mosaic work.
Photography: Louis Weiner. Detail: Andy Meadors
86
Mosaic Art NOW No. 3 2010
Exhibition in Print
Jeannie Houston Antes (USA)
Spaghetti Western
42 h x 48 w inches. Italian and Mexican smalti built on tempered glass and lit from within. Western and Americana found objects
in a handmade barnwood frame.
This mosaic is my homage to the world’s fascination with the American West. The piece started with the cowboy and bucking
horse image inspired by a 1950’s paint-by-numbers kit. In a nod to the Italo-Western films of the mid-sixties, I decided to use
classic Italian glass smalti for that part of the mosaic and “Spaghetti Western” just took of from there. Spilling over onto the border
or “frame” is a juxtaposition of iconic cowboy items from my obsessive thrifting; collection-trophy belt buckles, turquoise jewelry,
ashtrays, toy guns and rusty spurs. The found objects stir up memories and associations in the viewer which inspires me to keep
telling stories with my mixed media mosaic work.
Photography: Louis Weiner. Detail: Andy Meadors
86
Mosaic Art NOW No. 3 2010
Exhibition in Print
Gwyn Kaitis, Andryea Natkin, Laurie Peters (USA)
Familiar Ground
6 h x 12 w feet. Pebbles, driftwood, copper, jasper, agate, petrified wood, quartz, geodes, turquoise, chrysoprase, marble,
chrysocolla, fossils, sheet glass, Italian and Mexican smalti.
The triptych “Familiar Ground” was a commission for Johnson Financial Services of Racine, Wisconsin. It was designed to honor
the Johnson family’s love of nature and the Wisconsin landscape that they treasure. The mosaic was inspired by a photograph of
the Marengo River taken many years ago by the company’s founder, Sam Johnson. We were given access to the family’s private
collection for much of the rock, fossil and mineral specimens used in the mosaic. Pebbles and driftwood were gathered from the
Lake Michigan beach outside of the family home for inclusion as well. As artists, the three of us share an affinity for the natural
world and being awarded this opportunity to work together to create such a personally meaningful work for the Johnson’s and
their employees was an incredible honor for us.
Photographer: Randall Bultman
88
Mosaic Art NOW No. 3 2010
Exhibition in Print
Gwyn Kaitis, Andryea Natkin, Laurie Peters (USA)
Familiar Ground
6 h x 12 w feet. Pebbles, driftwood, copper, jasper, agate, petrified wood, quartz, geodes, turquoise, chrysoprase, marble,
chrysocolla, fossils, sheet glass, Italian and Mexican smalti.
The triptych “Familiar Ground” was a commission for Johnson Financial Services of Racine, Wisconsin. It was designed to honor
the Johnson family’s love of nature and the Wisconsin landscape that they treasure. The mosaic was inspired by a photograph of
the Marengo River taken many years ago by the company’s founder, Sam Johnson. We were given access to the family’s private
collection for much of the rock, fossil and mineral specimens used in the mosaic. Pebbles and driftwood were gathered from the
Lake Michigan beach outside of the family home for inclusion as well. As artists, the three of us share an affinity for the natural
world and being awarded this opportunity to work together to create such a personally meaningful work for the Johnson’s and
their employees was an incredible honor for us.
Photographer: Randall Bultman
88
Mosaic Art NOW No. 3 2010
Exhibition in Print
Nirit Keren (Israel)
Geology
36 h x 32 w 25 d centimeters. Yellow travertine, cement.
My work is inspired by geological forms. This sculpture describes a cross section of the earth’s layers leading down
into the core. Using one material in subtle ways allows me to recreate the minute changes in texture that indicate
the differences between each layer. The overall shape of the work is an upward, thrusting motion — energy coming
from the earth’s core up and out. This shape also feels decidedly spiritual to me for I see within it an abstract angel
rising towards the heavens.
Photographer: Elad H. Friedman
90
Mosaic Art NOW No. 3 2010
Exhibition in Print
Nirit Keren (Israel)
Geology
36 h x 32 w 25 d centimeters. Yellow travertine, cement.
My work is inspired by geological forms. This sculpture describes a cross section of the earth’s layers leading down
into the core. Using one material in subtle ways allows me to recreate the minute changes in texture that indicate
the differences between each layer. The overall shape of the work is an upward, thrusting motion — energy coming
from the earth’s core up and out. This shape also feels decidedly spiritual to me for I see within it an abstract angel
rising towards the heavens.
Photographer: Elad H. Friedman
90
Mosaic Art NOW No. 3 2010
Exhibition in Print
Kate Kerrigan (USA)
February Morning, Paris
32 h x 24 w inches. Italian stone, gold.
Being both a photographer and mosaicist, I have recently begun to translate my photographic compositions into
mosaic. It is exciting to see favorite photos of mine — like “February Morning, Paris” — come alive in a different
medium. I am forced to focus on details and subtleties, sometimes painstakingly so. Because of this, my work
is much more meaningful to me. I feel as though I have finally found my voice in the mosaic world. For that, I am
grateful.
Photographer: Sibila Savage
92
Mosaic Art NOW No. 3 2010
Exhibition in Print
Kate Kerrigan (USA)
February Morning, Paris
32 h x 24 w inches. Italian stone, gold.
Being both a photographer and mosaicist, I have recently begun to translate my photographic compositions into
mosaic. It is exciting to see favorite photos of mine — like “February Morning, Paris” — come alive in a different
medium. I am forced to focus on details and subtleties, sometimes painstakingly so. Because of this, my work
is much more meaningful to me. I feel as though I have finally found my voice in the mosaic world. For that, I am
grateful.
Photographer: Sibila Savage
92
Mosaic Art NOW No. 3 2010
Exhibition in Print
Julie Lucus (USA)
Maria
23 h x 7 w inches. Glass mirror, hundreds of metal parts ranging from a kazoo to a martini shaker, two full sets of
antique typewriter keys, screws, plastic, and wire.
Although originally inspired by Fritz Lang’s 1926 film, “Metropolis”, Maria’s concept drastically evolved over the 14
months it took me to complete her. Maria has come to represent many things to me which parallel my own life:
strength, tenacity and fearlessness. Maria is a survivor, a warrior, a woman. And, while her exterior is tough and
intimidating, I still find her surprisingly feminine.
94
Mosaic Art NOW No. 3 2010
Exhibition in Print
Julie Lucus (USA)
Maria
23 h x 7 w inches. Glass mirror, hundreds of metal parts ranging from a kazoo to a martini shaker, two full sets of
antique typewriter keys, screws, plastic, and wire.
Although originally inspired by Fritz Lang’s 1926 film, “Metropolis”, Maria’s concept drastically evolved over the 14
months it took me to complete her. Maria has come to represent many things to me which parallel my own life:
strength, tenacity and fearlessness. Maria is a survivor, a warrior, a woman. And, while her exterior is tough and
intimidating, I still find her surprisingly feminine.
94
Mosaic Art NOW No. 3 2010
Exhibition in Print
Giulio Menossi (Italy)
Notturno (Nightly)
80 h x 120 w x 10 d centimeters. Smalti, golds, pearls, marble.
“Notturno,” (Of the Night) is the representation of the moon behind the clouds. The work is an example of my
“Dynamic Mosaic” — sculpture that plays fullness against emptiness, lines that intertwine and wrinkle into each
other, plasticity imbued with intrinsic meaning.
96
Mosaic Art NOW No. 3 2010
Exhibition in Print
Giulio Menossi (Italy)
Notturno (Nightly)
80 h x 120 w x 10 d centimeters. Smalti, golds, pearls, marble.
“Notturno,” (Of the Night) is the representation of the moon behind the clouds. The work is an example of my
“Dynamic Mosaic” — sculpture that plays fullness against emptiness, lines that intertwine and wrinkle into each
other, plasticity imbued with intrinsic meaning.
96
Mosaic Art NOW No. 3 2010
Exhibition in Print
Exhibitor Information
98
Doreen Adams
Web: www.creativeartmosaics.com
Email: doreen@creativeartmosaics.com
White Rabbit
nfs
Jolino Beserra
Los Angeles, California, USA. 323 660-3525
Web: www.jolinoarchitecturalmosaics.com
Email: jolinobyrd@roadrunner.com
Don’t Cut Your Tongue on
the Rhinestones
price on request
Ellen Blakeley
www.ellenblakeley.com
Meridith
price on request
Irina Charny
Email: irina@icmosaics.com
Web: www. icmosaics.com
Primavera
price on request
Maylee Christie
United Kingdom. +44 7777693412
Email: maylee.christie@btinternet.com
Web: www.mayleemosaics.com
Ramblings
price on request
Candace Clough
Email: info@candaceclough.com
Web: www. candaceclough.com
Sidonea Menageria
nfs
Julie Dilling
Tesserae Mosaic Studio, 1111 N Jupiter Rd #108A, Plano, Texas
75023. 972-578-9006 (business); 817-507-9459 (mobile)
Email: julie@tesseraemosaicstudio.com
Web: www.tesseraemosaicstudio.com
Keep Me Warm
$2,500 US Dollars
Karen Kettering Dimit
646-423-4060
Email: kkdimit@mac.com
Web: www.kkdimit.com
Miss Willendorf 2008
$8,000 US Dollars
Gary Drostle
40 Strand House, Merbury Close, London, SE28 0LU, United Kingdom. +44 771 952 9520
Email: gary@drostle.com
Web: www.drostle.com
Carterton Lily Pond
nfs
Sophie Drouin
Email: sophie@sophiemosaics.com
Web: www.SophieMosaics.com
Bull’s Eye
price on request
Pamela Goode
Email: pamgoode@earthlink.net
Web: www.wildhairmosaics.com
Late Bloomer
price on request
Jeannie Houston Antes
PO Box 354, 40780 Village Drive, Big Bear Lake CA 92315
909-951-4156
Email: jhantes@gmail.com
Spaghetti Western
$8,500 US Dollars
Gwyn Kaitis
Joliet, Illinois. 815-919-2576
Email: gwyn@organicartifacts.com
Web: www.organicartifacts.com
Familiar Ground
nfs
Andryea Natkin
Chicago, Illinois. 773-909-9179
Email: andryea@tinypiecesmosaics.com
Web: www. tinypiecesmosaics.com
Laurie Peters
Elgin, Illinois. 847-532-0985
Email: lauriepeters@me.com
Web: web.me.com/lauriepeters/Mosaics
Nirit Keren
Email: keren.nirit@gmail.com
Geology
price on request
Kate Kerrigan
San Francisco, CA
Email: kerrigan.kate@gmail.com
Web: www.katekerrigan.net
February Morning, Paris
$12,500
Julie Lucus
Email: julielucus@yahoo.com
Web: julielucus.30art.com
Phone: 435-723-7940
Maria
price on request
Giulio Menossi
Email: info@menossimosaici.com
Web: www.menossimosaici.com
Web: www.menossimosaicschool.com
Notturno (Nightly)
€ 5.500
Mosaic Art NOW No. 3 2010
Exhibition in Print
Exhibitor Information
98
Doreen Adams
Web: www.creativeartmosaics.com
Email: doreen@creativeartmosaics.com
White Rabbit
nfs
Jolino Beserra
Los Angeles, California, USA. 323 660-3525
Web: www.jolinoarchitecturalmosaics.com
Email: jolinobyrd@roadrunner.com
Don’t Cut Your Tongue on
the Rhinestones
price on request
Ellen Blakeley
www.ellenblakeley.com
Meridith
price on request
Irina Charny
Email: irina@icmosaics.com
Web: www. icmosaics.com
Primavera
price on request
Maylee Christie
United Kingdom. +44 7777693412
Email: maylee.christie@btinternet.com
Web: www.mayleemosaics.com
Ramblings
price on request
Candace Clough
Email: info@candaceclough.com
Web: www. candaceclough.com
Sidonea Menageria
nfs
Julie Dilling
Tesserae Mosaic Studio, 1111 N Jupiter Rd #108A, Plano, Texas
75023. 972-578-9006 (business); 817-507-9459 (mobile)
Email: julie@tesseraemosaicstudio.com
Web: www.tesseraemosaicstudio.com
Keep Me Warm
$2,500 US Dollars
Karen Kettering Dimit
646-423-4060
Email: kkdimit@mac.com
Web: www.kkdimit.com
Miss Willendorf 2008
$8,000 US Dollars
Gary Drostle
40 Strand House, Merbury Close, London, SE28 0LU, United Kingdom. +44 771 952 9520
Email: gary@drostle.com
Web: www.drostle.com
Carterton Lily Pond
nfs
Sophie Drouin
Email: sophie@sophiemosaics.com
Web: www.SophieMosaics.com
Bull’s Eye
price on request
Pamela Goode
Email: pamgoode@earthlink.net
Web: www.wildhairmosaics.com
Late Bloomer
price on request
Jeannie Houston Antes
PO Box 354, 40780 Village Drive, Big Bear Lake CA 92315
909-951-4156
Email: jhantes@gmail.com
Spaghetti Western
$8,500 US Dollars
Gwyn Kaitis
Joliet, Illinois. 815-919-2576
Email: gwyn@organicartifacts.com
Web: www.organicartifacts.com
Familiar Ground
nfs
Andryea Natkin
Chicago, Illinois. 773-909-9179
Email: andryea@tinypiecesmosaics.com
Web: www. tinypiecesmosaics.com
Laurie Peters
Elgin, Illinois. 847-532-0985
Email: lauriepeters@me.com
Web: web.me.com/lauriepeters/Mosaics
Nirit Keren
Email: keren.nirit@gmail.com
Geology
price on request
Kate Kerrigan
San Francisco, CA
Email: kerrigan.kate@gmail.com
Web: www.katekerrigan.net
February Morning, Paris
$12,500
Julie Lucus
Email: julielucus@yahoo.com
Web: julielucus.30art.com
Phone: 435-723-7940
Maria
price on request
Giulio Menossi
Email: info@menossimosaici.com
Web: www.menossimosaici.com
Web: www.menossimosaicschool.com
Notturno (Nightly)
€ 5.500
Mosaic Art NOW No. 3 2010