1 - Society of American Mosaic Artists

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Quarterly Newsletter
Vol. 1 No.2
Summer 2000
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Quarterly Newsletter of the Society of American Mosaic Artists
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Janet Kozachek, President
Allyson Way Hank, Vice-President
Nathaniel Wallace, Secretary
Lia Catalano, Treasurer
Advisory Board:
George Fishman
Sonia King
Sven Warner
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Contributors:
Jeri Burdick is a ceramic and mixedmedia artist who operates her studio,
Radcliffe Street, in Eutawville, South
Carolina.
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Officers:
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II Costante Crovatto, a master mosaicist
II with fifty years of experience creating
II art in public places, is currently at work
lion a mosaic for the Holy Cross mausoIleum
in Arlington, New Jersey. Also,
he will soon install a mosaic at the Orlando National Airport in Florida. Before
emigrating to the United States in 1947,
Mr. Crovatto trained at the Scuola Mo- saicisti in Spilimbergo, Italy. After recruiting mosaic artists from Spilimbergo,
he founded Venetian Art Mosaics in
New York City and completed largescale mosaics in the 1950's and 60's.
II Now known as Crovatto Mosaics, Mr.
II Crovatto's team has worked in collaboII ration with artists and designers to create
II such notable works as the mosaic medalII
II lions in the Washington National Airport,
II and a mosaic mural based on artist
II
II Howardena Pindell's design at the Sky
II Harbor International Airport in Phoenix,
II Arizona.
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George Fishman is a mosaic muralist
in Miami Shores, Florida.
Robert Schick was the Islamic Studies
Fellow at the WE Albright Institute of
Archaeological Research in Jerusalem
and is currently pursuing research in the
Himalayas.
Erika Hochberg has a masters degree
in Art History and currently works in
New York.
Janet Kozachek is an artist/educator
residing in Orangeburg, South Carolina.
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I! ~~.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!J.
II II Pictured: Howardena Pindell's "Memory".
~!.~.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.~ 'I1- International Airport, Phoenix, Arizona.
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II SAMA is now 140 members strong and
II growing. Below is a geographic breakdown
of our members' location by state and country. California leads us all. The sites of
future exhibitions and conferences, along
with board representation may be based on
where most of our members reside. Do you
have a small or a large SAMA State? Encourage colleagues to join for a good showing in your state.
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Alabama 1, Arizona 2, California 15, ConII
necticutt 2, Colorado 3, Florida 10, Georgia
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5, illinois 9, Iowa 1, Kansas 1, Maryland 5,
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Michigan 3, Minnisota 1, Mississippi 2,
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Montana 1, New Hampshire 1, New Jersey
5, New Mexico 1, New York 9, North Carolina 7, North Dakota 1, Ohio 1, Pennsylvania
8, South Carolina 11, Tennessee 5, Texas
10, Vermont 1, Virginia 1, Washington 5,
Wisconsin
2.
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II Australia 1, Canada 4, France 1, Italy 1,
II Puerto Rico 1, Scotland 1.
Glass mosaic, 10 x 14 feet. Sky Harbor
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r"DI~ PUOI~I~SSION1~1.
How do I shade faces in my mosaics?
A. Closely copy Byzantine and Roman-style mosaic portraits,
.Isaiah Zagar conducted two mosaic mural classes this spring
in Philadelphia, one on April 29-30 and the second one over
Memorial Day Weekend. Mr. Zagar has devoted thirty years to
the art of mosaic and recently published a handsome monograph
celebrating his mosaic murals in Philadelphia. Philadelphia's
Magic Gardens features twelve color illustrations of Mr. Zagar's
public works along with a map of the sites. Intensely visionary,
some of them are a walk on the wild side of mosaics. Philadelphia's Magic Gardens is available from Open Eyes Press, 402
South Street Philadelphia, PA 19147. Isaiah Zagar is currently
represented by the Snyderman Gallery in Philadelphia.
paying particular attention to color matching. Then, create new
portraits, first using the "classic" palettes, then inventing your
own.
U. Should plywood be sealed before adhesive is applied when
making a mosaic tabletop?
J\. Traditionalists are skeptical about the long-term stability of
any mosaic substrates other than those that are cement based.
However, many mosaics ARE adhered to wood, plywood and
composition boards with success. To minimize the possibility
that moisture will penetrate a plywood table base and cause it
to warp, a good sealer is essential. Mosaicists' preferences for
sealing products range from shellac, white glue/water mixtures,
to paint primers and epoxy.
U. Am I correct in saying that the only tiles specifically produced
for use in mosaic work are smalti? Isn't vitreous glass really
produced for architectural applications?
1\. Smalti is "the" material manufactured since antiquity for
handmade mosaics. Contemporary artists use all manner of
materials (stone, vitreous glass, ceramic tile, etc.), but those of
uniform size, such as vitreous glass and unglazed porcelains,
must be recut by the mosaicist to create interest.
U. In making a tabletop, should grout or caulk be applied
between the edge of the tile and the inside of the frame?
A. Caulk offers the virtue-of-flexibility
in any joint that is
susceptible to movement. Sanded caulk gives a better visual
match to the nearby grout joints than does ordinary caulk.
U. Can small sizes of porcelain tile be obtained without the
adhesive or other backing materials that normally are used to
hold the tiles in sheets?
Isaiah Zagar - Philadelphia, '98
A. Dal- Tile, American Olean, and Lonestar all sometimes offer
sale of UN-mounted porcelains. Purchasing the material in this
condition saves much labor and allows the tesserae to be placed
either side up.
U. What precautions need to be taken for mosaic installations
in cold climates?
J\. Thinset cannot be applied in near-freezing conditions; contact
the manufacturer for details. Mosaic installations that need to
withstand freeze cycles must be well sealed, so that water cannot
penetrate the grout (or porous mosaic materials either) and later
freeze. Penetrating sealers are sold for this purpose .
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Prix Picassiette 2000 in Chartres, France. Deadline for entries:
October 15,2000. For a prospectus contact: Centre SocialS
rue des Hauts de Chartres 28000 Chartres. Tel: 0237349596
Fax: 0237300861
1
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Title: 'I'DI, iluT 01' }IOSAU;S
Instructor: Melanie Strybos
Location: Southwest School of Art and Craft
300 Augusta, San Antonio, TX 78205
Time and Date: June 23 & 24; July 22 & 23 10:00 - 4:00 p.m.
Subject: Basic Introduction Class
Class size limit: 12
Cost: $130
For More Information contact: SSAC (210) 224-1848
1
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For information on Mosaic courses offered
outside the United States, contact:
Mosaic Matters: www.uscrs.dircon.co.uk/-asm
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Nina Liu and Friends
A Gallery of Contemporary Art Objects
24 State Street
Charleston, South Carolina 29401
Title: 'I'lil, ilu'!' 01' ~IOSAU;S
Instructor: Melanie Strybos
Location: Austin Museum of Art - The Art School
3809 West 35th si., Austin, TX 78763
Time and Date: August 19 & 20 10:00 - 4:00 p.m.
Subject: Basic Introduction Class
Class size limit: 15
Cost: $1l5
For More Information contact: AMOA (512) 323-6380
Odalisque
1638 Abbot Kinney
Venice, California 90291
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SOUIU~I~S
SmaltilVitreous
Glass/Assorted
Mountaintop Mosaics P. O. Box 653 Castleton, VT 05735
1-800-564-4980 www.mountaintopmosaics.corn
Title: (~AS'!'(~I'~II'N'l'AN)) }IOSAU;
Instructor: Dmitry Grudsky
Location: Dmitry Grudsky Studio
38799 Jonovill Drive, Newark, CA 94560
Time and Date: August 20 - 25, 2000
Subjects: Introduction to Byzantine, Roman, Florentine and
contemporary mosaic. Techniques of design, molding, embedding, framing, casting and grouting.
Class size limit: 8
Cost: $330 (5 days)
For More Information Call: Tile Heritage Foundation
Fax: (707) 431-8455
Evmail: foundation@tileheritage.org
SmaltilVitreous
Glass/Ceramic
Tiles/Mosaic
Molds:
Delphi Stained Glass
3380 East Jolly Road, Lansing, MI 48910
1-800-968-4420 Fax: 1-800-748-0374
Virtreous Glass/Mosaic
Molds:
Ed Hoy's International
27625 Diehl Road, Warrenville, IL 60555
1-800-323-5668 Wholesalers to the Trade Only.
Encyclopedia Big Book available for $9.95
Vitreous Glass/Ceramic
Title: ~IOSAU;"TounslloP
Instructor: Phillip Danzig
Location: Get Crackin Studio
70 E. 10th Street, New York, NY 10003
Time and Date: September 9 & 10
Subjects: Mosaics as architectural statement, graphic images.
Tile cutting, cementing and grouting, technical advice on
permanent installations.
Class size limit: 12
Cost: $330 (5 days)
For More Information contact: Tile Heritage Foundation.
Fax: (707) 431-8455
E-mail: foundationrs'tileheritage.org
Mosaic Tools:
Tile:
Michele Petno
Wits End Mosaic 5224 W State Road 46
Suite 134, Sanford, Florida 32771
407-323-9122 Fax: 407-322-8552
witsend@mpinet.net www.mosaic-witsend.corn
(coming soon: unglazed porcelain tile, smalti)
SmaIti/Pre-cut
-
Marble Tesserae/Mosaic
Tools:
Tabularasa Viale Scalo di San Lorenzo 40
Roma, Italy 39-06-4450070
Fax: 39-06-4456760
E-mail: y2k@tabvlarasa.com
www.tabvlarasa.com
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The ease and convenience of commercially manufactured mosaic tesserae are taken for granted by most contemporary mosaic artists.
Deadlines, large-scale projects, and economic constraints make their use expedient. For a more hand-crafted look, however, many
mosaicists create their own tesserae. For small works in particular, tesserae, which are art works in themselves, compose a mosaic that
intensely reflects the artist's touch. Sometimes, tesserae are cut by hand from traditional materials - stone, smalti, cut tiles. At other
times, they serve as occasional accents blossoming spontaneously out of a homogeneous stratum.
t",..~'tU~e
will feature artists who create their own tesserae and will share with readers their tools and techniques for creating these
one~of-a-kind building blocks. We anticipate that by sharing our expertise, resources, and experimentation, we will enhance each other's
work and provide inspiration to do something out of the ordinary.
(~IU~l'\'·I'INC.
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II1.\.NJ) by Jeri Burdick
I have always mixed materials in my art work. I have felt a need to unify these materials using outlines, and small ceramic tesserae
seemed ideal for this purpose. Creating my own tiles was natural to me as a ceramic artist. My working method enables me to have a
large supply of tesserae in an extensive color range.
I find that creating a system of work in the studio is essential if you are going to produce a lot of one thing. First, decide on the
thickness you want your tesserae to be. (Mine are 1/4 to 3/8 inch thickness as a general rule.) Roll out your slab of clay accordingly.
Be certain to roll out your slab of clay on a piece of canvas, masonite, or other material that will facilitate flipping it over. After rolling
the slab, work it down by taking a rubber, wooden, or flexible metal rib and running it over the front and back surface of your slab.
This will keep the slab from warping.
Let the slab sit overnight or for several hours. A lot depends upon the humidity. The more moisture in the air, the longer it will take
for the water to evaporate from the slab. Flip the slab over, making certain that the edges are flat. Run your hands over it several times
during the day until the slab becomes stiffer (not hard and dry).
Using a T-square and an exacto knife, mark your tesserae to the desired size - I use 3/4" by 1/2" for rectangles and 112" by 1/2" for
squares. The sky is the limit; you may want to try triangles. Score your slab half-way through. (Scoring the slab too early may result
in distorted shapes. But some artists may like the distortion.)
Once the scored slab has dried, you can glaze. Glazing the greenware requires a bone dry surface. (You will need to make glaze
tests before you commit to a glaze. Some glazes pinhole and craze if fired too quickly). Brush the glaze onto the scored slab and let
dry. Gently break the tesserae off along the score marks - first one row, then breaking off the individual tesserae. If the edges seem
slightly rough, run your fingers over the edges to smooth out the glaze. Place each tessera on a kiln shelf coated with kiln wash. Be
sure the underside of each tessera is free of glaze. Fire to the appropriate temperature.
By making a large quantity of tesserae in varied palettes and a variety of sizes, you have an extended artistic vocabulary with which
to work. This vocabulary of tesserae makes each work of art unique and personal.
~~~~~
3) Once the scored slab has
dried, you can glaze.
2) Score your slab half-way through.
••
5) The finished mosaic
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'rUI~ Ii)IJ\'(.I~J)I~S'I'UOYI~USby
Robert Schick
Reprinted and condensed with permission from Archeology Odyssey NovemberlDecember
Society, 4710 41st Street NW, Washington, DC 20016. travel@bibarch.org.
A curious episode in the history of
iconoclasm - the destruction of sacred
images - took place in eighth century
Palestine (present-day Israel and Jordan).
The region's Byzantine churches were
often decorated with colorful mosaic
pavements, including depictions of
plants, animals, ordinary human beings
and holy figures such as Jesus, the Virgin
Mary, the disciples and saints. Some
time during the eighth century, however,
in almost everyone of these churches,
the human and animal images were deliberately annihilated.
But it was a gentle destruction: Those
who obliterated the images typically
removed the tiles with great care, scrambled them up, and reinserted them into
the pavement - preserving the mosaic
while erasing the images.
Equally curious: The obliterated
images in Christian churches in Palestine
were of ordinary people and animals,
not holy figures. Thus the destruction
of images in Palestine differs markedly
from the Christian iconoclasm of the
Byzantine Empire in the eighth and early
ninth centuries - where only sacred icons
were destroyed while other images of
humans and animals were left intact.
Surprisingly, a closer look at the
nature of the damage, and when it was
done, suggests that it was the work of
Christians themselves.
Typically, individual tesserae were
carefully plucked out of the offending
images, leaving the surrounding pavement intact. Most of the damaged floors
were repaired, sometimes crudely by
using cement, plaster or pieces of broken
stones, but more often carefully by reusing the mosaic tesserae. If the floors
were to remain in use, the damaged images had to be repaired in some way;
any gap would have quickly widened as
people knocked out other cubes while
stepping along the edges of the break.
In many cases, repairs were done in
an artistic manner that clearly reflects
concern for the aesthetic appearance of
the mosaic. At Farah al-Hashimiyah,
simple geometric shapes fill the space
where the images once were. The most
humorous example is the church at Ma'in,
where the image-destroyers transformed
a bull into a tree but left the animal's
hooves intact.
When was the damage done? A
number of churches also contain inscriptions telling us when the churches, or
their mosaic floors were dedicated. An
inscription at Khildah dates its mosaic
floor to 685; the lower church at alQuwaysmah was dedicated in 7l7-718;
the Church of Saint Stephen at Umm alRasas was dedicated in October 718; and
the acropolis church at Ma'in was dedicated in 719-720.
Clearly, much effort was put into
defacing the images. It could have been
different:
One can imagine vandals
smashing up the floors, or angry iconoclasts plastering over the offensive images. Instead, the tesserae were often
carefully removed and scrambled. The
people who did the damage, and who
made the repairs, wanted to keep the
mosaic floors intact and in use, and they
were willing to invest the time and effort
&W
1999. Journal of the Biblical Archaeology
needed to keep the floors attracti ve. This
means that the repairs - and the damage
- were done by the local Christian congregations, who wanted to preserve their
houses of worship. That the Christians
did the repairs is clearly demonstrated
in the mosaic at Massuh, where a cross
and a church building were added to the
mosaic as part of the repairs.
Why would Christians damage their
own churches? The Arabs conquered
Jerusalem in 638, so by the eighth century Palestine had for some time been
under Muslim control. Reports of the
rulings and actions of the prophet Muhammad (c. 570 - 632) show that Muslims were opposed to the depiction of
all living beings, on the grounds that the
depiction of a living being that possessed
the "breath of life" was a blasphemous
imitation of the creative act of God. The
issue first began to be raised towards the
end of the seventh century, and the prohibition on depictions of people and
animals had been generally agreed upon
by the early years of the eighth century.
This Muslim form of opposition to
images corresponds better to the physical
evidence from the mosaic floors in the
churches of Palestine than does Byzantine iconoclasm. But there is little literary
evidence to point to Muslim action
against images. Probably, Muslim officials demanded that images be destroyed,
and the Christians then camouflaged the
images themselves to do as little damage
as possible. Although almost every
church was affected, the damage in no
case was very thorough. Some images
were simply scrambled, while other images were left intact.
This suggests that the Muslims themselves were not very ardent imagedestroyers. It looks as though both communities, Muslim ~nd Christian, wanted
to cause as little resentment as possible
while remaining faithful to their religous
precepts - the Muslims by making minimal demands, the Christians by getting
rid of offensive images.
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'''DJ~ )IOSIU(~ SOIJlU~J~nOOK: l)uo.JJ~el'S,
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by Paul Siggins and Paul Cooper
Trafalgar Square Publishing, 1997
The Mosaic Sourcebook is a solid educational text for newcomers to the craft. Tools and materials are explained in a clear and
organized fashion and are accompanied by helpful photos. The book flows nicely from introducing the field and describing the basics,
to inspiring the reader to incorporate new motifs into eight simple projects. Each project is outlined with a description of the object, a
list of tools and materials required, and four-step instructions. The projects encompass a variety of mosaic types: indoor and outdoor,
flat and three-dimensional, direct and indirect. Even better, the authors consistently demonstrate how to break down the design into
smaller, more manageable segments. This allows the beginner to work in a neat and logical fashion.
A wonderful feature in the book is its inclusion of alternative designs, templates, and motifs. Two different patterns are provided
for each project to show the user other ways of approaching the same object. Each project is accompanied by a full-page template, which
can be copied and enlarged for use in the design process and clearly shows how tiles should be cut and laid. These tools are invaluable.
Also included are additional motifs, which will inspire beginners and experts alike.
One caveat is that the authors oversimplify the difficulty of cutting glass tiles precisely with nippers, a task that requires much practice
and patience. Overall, however, The Mosaic Sourcebook offers novices an excellent foundation in the basics of mosaic art.
Erika Hochberg
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)IOSAI(~ "TOUKSIIOl-:
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by Emma Biggs and Tessa Hunkin
Trafalgar Square Publishing, 1999
Wow. With exquisite photographs and tempting projects, Mosaic Workshop offers both eye-candy and satisfying substance for more
advanced mosaicists. Aimed at experienced students and established artists, the book is organized a little differently than texts for novices.
Rather than beginning with materials and techniques, the authors first describe what they call "Principles of design", including color,
laying, surface, and pattern. These principles elucidate the general design and execution of a work and are chock full of useful tips.
For example, the section on color includes an illustrated description of how grout color affects the overall look of a piece. The section
on laying includes tips, also illustrated, for fine-tuning andamenti. * For this reason, it may be worthwhile to read the book in its entirety
before delving into any single project.
While the historical overview presented in the brief introduction is questionable, the chapter on the use of historical sources in modern
work is particularly instructive. From here the authors choose works to duplicate, presently three projects modeled on Roman and
Byzantine works.
The authors save for last their discussion of materials and techniques. They describe the direct and indirect methods as well as those
for mesh, casting, and working with three-dimensional objects. Of particular interest are the charts which demonstrate how to select
the proper adhesives, backings, and materials based on where a completed mosaic will reside.
From principles to practice, the authors of Mosaic Workshop display unquestionable expertise in the art and design of mosaics, making
the book a worthy purchase that will challenge and inspire even experienced artists.
Erika Hochberg
* Editor's Note: "Andarnento" (plural: andamenti) is the "movement or coursing of tesserae, also the flow of the grout lines." Source:
The Art of Decorative Mosaics by Elaine M. Goodwin (Ramsbury: Crowood Press, 1999), p. 123.
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'1'0., N.,w ~I()SAICS
by D.T. Dawson
Lark/Sterling Books, 1999
The New Mosaics, now in its second printing, features an extraordinary array of mosaics using both traditional and unconventional
mosaic materials. The obligatory "how to" section offers tips on making forty different projects using glass, metal, paper, beans, buttons,
felt, and found objects.
A compendium of curiosities, the gallery section reads like a Ripley's Believe it or Not of the mosaic world. Automobiles covered
with various and sundry items such as grass, found objects, and even used cameras, roll past our unbelieving eyes.
What makes some of the inclusions curious within the context of this book, is a definition of mosaic submitted to readers on page
six of The New Mosaics. We read that a mosaic is "a surface decoration made by inlaying small pieces of variously colored material
to form pictures or patterns." How, then, is a hershey bar wrapper folded into the shape of a female torso a mosaic? American origami,
maybe. Many other examples of mosaics in this book would be more accurately described as collage.
For those who think of mosaics as permanent art, The New Mosaics offers a challenge. The use of highly acidic corrugated cardboard,
for instance, and other equally unstable substances, may rattle the nerves of the archivally conscious. Yet reading this text, one realizes
that at.times the ephemeral is an intentional theme in the mosaics of several of the artists. Some artists are actively pursuing mutable
mosaic art. John Salvest's mosaic made of business cards which spell out the words "Nothing Endures" brings home this point quite
clearly. Even more amazing for its massive scale is the Mitchell Com Palace in South Dakota, which annually changes its earthy corn
cob mosaic murals.
Richly illustrated, The New Mosaics is worth a purchase - if for no other reason than to satisfy one's curiosity.
Janet Kozachek
One of New Jersey's best kept secrets is the Princeton University Art Museum and its stunning collection of Roman pavement mosaics.
These twelve excellent examples of first - through fourth - century tesselatum and vermiculatum* mosaics were excavated from Antioch
by Princeton University in the 1930's and installed at the museum entrance and in the gallery of classical antiquities.
Of particular interest in this collection is a large floor mosaic of Herakles and Dionysos with a Dancing Maenad, a Head of Medusa
from the House of the Red Pavement, and a large reconstructed fountain with a mosaic basin depicting Erotes riding dolphins.
The gallery of classical antiquities is dominated by the large pavement mosaic of Herakles and Dionysos engaged in a drinking contest.
The characters in this drama recline in an architectural inset with Corinthian columns supporting an arch that appears sculpted with an
image, perhaps of Poseidon. The tesserae composing this mosaic are fine cubes of variegated marble and vitreous glass paste. Although
the central pictorial scene of the mosiac is appropiately cordoned off, visitors can still walk over the exterior geometric design. The
positioning of the mosaic in the center of the room allows the viewer to examine it in close detail from all angles.
The second-century Head of Medusa is a superb example of a Roman vermiculatum mosaic. The central face of the Medusa is
composed of tiny tesserae with tight interstices resulting in the gradual modulation of tones that is characteristic of the finer mosaics of
this period. Notable in this mosaic is the subtle juxtaposition of tesserae of various sizes in the border design to create a perspectival
decoration. With technical virtuosity, the mosaicist created several globe-like areas, each with an inner circle composed of large, palecolored tesserae. Around each inner circle, there is a single line of dark red tesserae, and then another line of a lighter red. The overall
effect is of a protruberant jewel and its cast shadow. Each globe-like composite is surrounded by a triangular area of tightly packed,
medium-red tesserae.
A reconstructed, working fountain with the original mosaic interior runs the length of the back wall of the classical antiquities room.
The mosaic in the fountain depicts cherubs riding dolphins surrounded by various marine creatures. The pastel marble tesserae underneath
the water and the lovely rippling sounds recreate the quiet ambiance of a Roman viridarium.** A visitor can rest here comfortably and
easily touch the stones underneath the water. I see students, artists, and scholars doing so while pausing here to review their notes and
reflectupon the wonders of this small but exquisite collection. For anyone with a passion for classical mosaics, the Princeton University
Art Museum is a must on your mosaic travel itinerary.
*Editor's Note: "Tesselatum" refers to the use of "cube-shaped tesserare, all the same size but different colors. Motifs are represented
by laying black tesserae against a white background, while the outline is white on black." The term "vermiculatum" indicates mosaics
in which the tesserae are usually "extremely small ... allowing highly detailed motifs to be drawn and laid." Source: The Art of Mosaics
by Joaquim Chavarria (New York: Watson/Guptill Publications, no date), p. 55.
**Editor's Note: A "viridarium" was typically a garden area that included statuary and fountains.
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l'Il'I'J(~I~I~S:
Can it be true. that your Editors were in a pinch to find enough material to publish in this issue of ~f'olflltU.e? We welcome more
membership news and images, as well as articles. We are looking for: a balance of abstract, decorative, and pictorial images and
accompanying stories about works that were commissioned or won entry into juried exhibitions. Please include a self-addressed stamped
envelope if you would like your photographs returned. News about members' publications and research is also encouraged - as is
information about a mosaic Website to visit in the U.S. or abroad.
Sonia King, one of SAMA's founders and an Advisory Board Member, plans to attend the British Association for Modem Mosaic's
General Meeting in October. She will deliver a short talk/slide show on current mosaic art in America. If you'd like to sumbit slides
for possible inclusion, please send them to the address below. Send up to three slides labeled with slide number, your name and the title
of the piece. Include a slide list with your name, phone number, a short bio (if you like) and the following info about each mosaic: slide
number, title, dimensions, materials, date, and location. Enclose a SASE with sufficient postage if you want your slides returned at the
end of October. The deadline for receipt of slides is August 31.
Send to:
Sonia King
WhateverWerks Mosaic Studio
1023 Sarasota Circle
Dallas, Texas 75223
USA
Fax: 1-214-824-5864
sonia@mosaicworks.com
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111~~lIn~1l
S(JllVI~Y
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