As a child I was always creating; drawing, working with clay, textiles, you name it. I was an art major at Agnes Scott College in Atlanta, focusing on painting and printmaking, in love with Van Gogh and Matisse. After graduating, I studied graphic design at Portfolio Center in Atlanta, Ga. (I believe it’s now called Miami Ad School, or MAD Atlanta). I worked as a graphic designer in Atlanta for thirty years while we raised our three children. I finally decided to quit graphic design, get off the computer, and return to the studio to create art for me.
I was in the process of cleaning out my small home studio, (which had been dedicated to all the creative supplies I’d used in my volunteer work for my kid’s schools for the past thirty years), and I came across a box of tile and beads I’d been gifted. I told myself I’d play around with it and if I didn’t like it, I’d pass it on. That was all it took to get me hooked! That was in 2017 and I’ve been mosaicking ever since.
My mosaic work at first was rough and primitive-looking, but I enjoyed the process so much that I developed a good habit of working every day and learning something new with every piece. About a year later, my husband and I were ready to renovate our basement as we’d recently become empty nesters, and we designated a space for my new studio. I was lucky enough to create a large space with separate stations: one for cutting & gluing/layout, another for grouting, one for painting, one for framing, one for staging and photographing, and a computer space. These stations free up so much time for me; I don’t have to clean up after every mess I make as I go. I’m so blessed to have such a great space to work in.
Gardening has nurtured my love of flowers. They are my go-to mosaic subject because they bring so much joy both to me while creating, and to the viewer. Who doesn’t love flowers? I’m inspired by nature and anything floral and frequently take photos on our daily walk which end up in a mosaic. I follow lots of gardeners and florists on social media. There are so many ways to express flowers through mosaic: in a bouquet, bunch, large single bloom, nature scene, in a landscape. It’s always a happy challenge to decide which flowers, colors, layout, tesserae to choose… so many variables!
My layout process has evolved over time. I used to draw the flowers out on the board and then mosaic what I’d drawn, but I don’t even do that anymore…just too tedious! I pull together a few reference photos with a vision in mind, and start cutting and laying out the glass. I might have a pencil mark on the primed wood to indicate a horizon line or vase line, but even that is rare. I enjoy the challenge of putting stained glass shapes together and getting beautiful flower forms. It’s always exciting to see what appears on the board. I believe that is why I’m always eager and excited to be cutting glass, my favorite part of the mosaic process.
The development of my painted grout backgrounds happened this way. When I first started mosaicking, I was learning from and working in traditional styles, working from a photo or design underneath mesh and filling in every space with tesserae. I did not like how busy the backgrounds were and how their busy-ness pulled away from the main subject. I had been using a pre-mixed grout with adhesives in it called FusionPro, mostly out of just not wanting to mix my own grout. I did not want that powdery mess in my new studio and didn’t want to have to guess how much to mix every time and then have wasted grout left over. I realized the FusionPro grout was not cracking or chipping at all and thought oh, I can use that for the background. I was still using charcoal grout on all my pieces and did not like how dark my pieces were. So I started grouting in light gray, leaving the backgrounds unmosaicked, and painting my grouted backgrounds. I absolutely loved the effect, as it felt (and still feels) like a hybrid of painting and mosaic. I learned to use high-quality acrylics with good pigment and lightfastness so the color and paint will not fade. Of course the painted backgrounds are for indoor pieces only. During the last couple of years I’ve primarily been using stained glass, (my favorite material!) which feels more like “paint” to me.
I’ve learned that even when I’m not particularly motivated to create, if I just show up (get my butt in the studio!), turn on some music, (anything from classical to Jackson Browne to Beatles) and start cleaning something or organizing a space, I’ll be creating before I know it. It just happens in studio, but you have to show up! Henri Matisse said it best: “Don’t wait for inspiration. It comes while working."
My goal in making mosaic art has been to make art that I like, have fun doing it, and share my work with others. If I’m not enjoying the process, something needs to change. If I don’t like what I create, it’s ok, just pass it on and keep trying, duds happen. And I’m always happy to answer questions from other folks just starting out. Mosaicking has brought me so much joy and sharing whatever knowledge I’ve gained with others will hopefully multiply that joy. Keep mosaicking!
“To practice any art, no matter how well or how badly, is a way to make your soul grow, for heaven’s sake. So do it.” – Kurt Vonnegut
LMA: Tell us a little about your artistic background:
Julie: I have a Bachelor of Architecture and I’m self-taught as an artist.
LMA: Do you have any professional art training?
Julie: In Architecture I learned basic design principles that translate across the board. I also developed a good sense when it comes to constructive critiques. Back then, I took as many art classes as I could, including figure drawing, photography, and ceramics. More recently I’ve taken ceramics again, color theory, painting, stained glass, online mosaic classes and University of YouTube for many art related topics.
Natalia by Julie Mazzoni
LMA: How long have you been creating mosaic, art, etc?
Julie: I made my first mosaic in 2009. Back then I worked on one piece at a time. Now I always have multiple projects in the works.
LMA: What about mosaics resonates with you?
Julie: The connection to the past and the lasting power of the medium. It is fascinating to see ancient mosaics still getting discovered and unearthed. There is also no denying the allegory with life that they hold, with all its intricate little pieces and beauty in the parts as well as the whole. And lastly, I think the tactile nature of the process resonates with me.
LMA: What is your favorite part of the mosaic process?
Julie: Working with various material is my favorite part.
Empty Nest by Julie Mazzoni
LMA: Do you have a favorite subject matter? What is it?
Julie: I am drawn to figures that are self-reflective or thoroughly engaged in an activity that brings them peace and joy– the relaxed yet attentive body language speaks to me. I have only done a handful, but will likely be making more.
Glory by Julie Mazzoni
LMA: Where do you find inspiration for subject matter?
Julie: Nature, gardens, the classroom, exhibitions, looking at other mediums and artists online, music, my family, my dreams, my memories, history, materials and science. I enjoy running and hiking and the freedom of being disconnected they provide. It gives me time to wonder and think.
LMA: What do you find to be the most challenging aspect of mosaics?
Julie: Deciding which project merits my time. If I’ve had a challenging week, or am tired, I will usually work on a smaller “fun” project that requires less creative brain power. Thus, I make plenty of what I call “smalls.” This includes pendants and crafty type mosaics. They are a therapeutic way to relax for me. I try to make 3-4 challenging personal mosaics (non-commissioned) per year to push myself and scratch that itch to create and try new things.
Mandalas by Julie Mazzoni
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space.
Julie: Yikes. My studio is in my home and currently in transition. Most of my storage is in my garage, but I enjoy the climate control inside my home. I am currently (over the past year) slowly reorganizing the entire thing and purging materials that I likely won’t use in order to create a more streamlined and efficient work space.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Julie: I’m going to stick with mosaic artists and say Sonia King, Guilio Menossi, and Mia Tavanatti. Of course, there are many more.
Bluebird Fountain by Julie Mazzoni
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Name: Dionne Ible
Town (or area) & State/Country you reside in: Bedfordshire, England, UK
Business Name: Qemamu Mosaics
Tell us a little about your artistic background:
I have no artistic background and spent a lot of time copying images and teaching myself how to draw. To this day my drawing skills are very limited which works well for me when it comes to creating mosaics as I allow the tiles to do all the hard work.
Do you have any professional art training?
Yes I did a 10 week course at the Working Men’s College in Camden in 2003 and also took short courses with Emma Biggs, Saad Mikhael and Liz Tiranti.
United We Stand by Dionne Ible
How did you get started in mosaics?
I was looking for something creative to do outside of my full time job as a Legal Secretary. With my lack of artistic skills I wanted to do something that didn’t involve painting or drawing. I got a prospectus and flicked through the pages until I found something interesting which happened to be Mosaics.
How long have you been creating mosaic, art, etc?
Since 2003
Did you start with mosaic or did you work in other mediums before working in mosaic? What type of mosaics resonate with you?
I love stained glass work, pique assiette style and more recently mixed media mosaic. I was originally taught 2D mosaic using vitreous glass and unglazed ceramic tiles however over the years I got introduced to stained glass and then started experimenting with other materials e.g. shells, stones, slate and beads etc.
What is your favorite part of the mosaic process?
The middle part and putting in the last piece.
by Dionne Ible
Do you have a favorite subject matter? What is it?
I love working on African inspired subjects as it is important to me that I represent my culture and leave a legacy of mosaic art that my community can relate to.
by Dionne Ible
Where do you find inspiration for subject matter?
From a variety of places; artwork in my home, photos from Africa or the Caribbean, other peoples’ artwork, someone’s t-shirt. I could literally be walking down the street and see something on a building or on a billboard etc.
Do you have favorite materials you like to work with? What are they?
Yes, I love stained glass because it’s easy to cut and you can achieve some very interesting shapes from big pieces, plus some of the glass reminds me of tie dye which is fantastic for my Goddesses’ headwraps.
Mother Nature by Dionne Ible
What is your favorite thing you have created and why?
That has to be one of my earlier pieces entitled Mother Earth. I love trees and nature in general and decided to create a tree that looks like it’s dancing in the forest. I wanted to capture the energy of happiness and vitality which most people can relate to when out in nature.
What would you like to learn/add to your mosaics experience?
I would like to explore more 3D work e.g. a table or some kind of ornamental sculpture and also to go much bigger with wall murals.
What do you find to be the most challenging aspect of mosaics?
Deciding on the correct colour grout as this can enhance or drastically ruin a mosaic and also choosing the right andamento for the focal point and background.
Elephants on the Serengeti by Dionne Ible
What is your least favorite thing about mosaics and why?
Grouting and the cleaning up process afterwards. I dislike having to clean all the tools used for the grouting process.
Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
I do love listening to all types of music and often have slow jams on, in particular Neo Soul and also 80s and 90s Funk, House and Soul. I also love podcasts and enjoy Art Juice with Alice Sheridan and Louise Fletcher plus a variety of self development podcasts or motivational and inspiring content.
by Dionne Ible
What is one of your favorite quotes or sayings?
When you want something you have never had, you have to do something you have never done. In other words you need to come out of your comfort zone to achieve something different.
If you could give readers one single piece of advice, what would it be?
Don’t have regrets. Go for what you want no matter what stage of life you are in.
Tell us about your single greatest mosaic moment:
Being asked to create a 3 metre long mosaic mural for a customer bathroom in a shop. The client loved my work and wanted me to create a piece for his shop. I was totally shocked and really thought it was out of my depth as I had never created anything that large before. It took months to assemble, with a few mistakes along the way, but I managed to complete it and the client loves it!
by Dionne Ible
Do you have a favorite color palette?
I am drawn to earthy colours, orange, brown, rust, reds, mustard etc
Who are your top 3 favorite artists or top 3 most influential artists in your work?
This is a hard question and I couldn’t possibly choose just 3 but here are some of my favourites:
Elaine Goodwin
Rachel Davies
Cherie Bosela
Martin Cheek
Felicity Ball
Gila Rayberg
Caroline Jariwala
Marcelino Manhula
Guilo Menossi
Mia Tavonatti
Name: Alison Mac Cormaic
Town (or area) & State/Country you reside in: County Galway, Ireland
Business Name: Alison Mac Cormaic Mosaics
Tell us a little about your artistic background:
Cassiopeia, Fragment
This work, in response th the theme of Constellations, was inspired by 19th century engravings of the constellation Cassiopeia. As only one side of the sky can be shown at once, parts of the illustrated figures sometimes become cropped. This suggests found fragments of ancient Roman and Greek mosaics, where elements which once made up the whole are now lost. We wonder what form the missing sections may have taken.
Cassiopeia sits with her feet hanging down and the pattern in the border shows a rotating chair. In Greek mythology, Cassiopeia claimed she, and her daughter Andromeda, were more beautiful than the daughters of the sea gods. This angered Poseidon who tied her to a chair and sent her to turn forever in the heavens.
detail of St Patrick's Bell Shrine
detail of St Patrick's Bell Shrine
LMA: Tell us a little about your artistic background:
Linda: I was born a craftsman, and I am particular about my home. I rarely save money doing things myself, but I have a hard time finding someone willing to work asymmetrically or with irregular shapes and fussy details. Because of this, I taught myself a little bit about a lot of things. Mosaic was one of those things, but I enjoy it enough that I keep doing it. Anyone that does something a lot gains a level of skill and style.
LMA: Do you have any professional art training?
Linda: I have no college degree in anything, and a few glass workshops under my belt.
be the change by Linda Billet
LMA: How did you get started in mosaics?
Linda: Over 20 years ago, a water pipe in one of our bathrooms leaked and the floor was ruined. I knew I could easily tile the floor but decided to break up the tiles and mix glass in with it. I didn’t really think about this till now but the difficulty working with materials that were two different thicknesses to make a level surface is what I now enjoy.
LMA: How long have you been creating mosaic, art, etc?
Linda: I quit my job to do glass full time professionally around 2008. At that time, I had just started transitioning from fused glass bowls to 2D fused glass panels. Occasionally, I would make a mosaic but kept going back and forth between fusing and mosaicking. An unfortunate (or fortunate) break in a really good panel sparked an idea for me to use my fused glass as tiles. Combining the two gave me greater possibilities than I had in either discipline.
gram's wish by Linda Billet
LMA: What about mosaics resonates with you?
Linda: The thing I like best about art is combining diverse things. I find it fascinating that two fabrics that would never be worn together somehow work when they are sewn together. It’s the same in a mosaic. I love to combine stripes and dots with the features in my work. Some patterns and features are better illustrated in my style of fusing, some are more easily fabricated with mosaic. When possible, I have strong representations of each discipline.
LMA: What is your favorite part of the mosaic process?
Linda: Honestly, I thoroughly enjoy all of it, but the grout is the magic. My style of mosaic looks like a kids’ camp project until the grout goes in. Grout is an enormous part of the design and in some mosaics, grout lines are a feature. I frequently lose sleep the night before grouting an important project because I’m so excited.
shaka by Linda Billet
LMA: Do you have a favorite subject matter? What is it?
Linda: I never get tired of trying to represent water. Clouds are a close second, but they are actually water. Nothing in nature is more fascinating than water.
LMA: What is your favorite thing you have created and why?
Linda: My favorite project is always the last thing I have finished or the thing I am currently working on. Maybe it is because I love the process so much but I fall in love with each mosaic. That doesn’t mean my work is fabulous. It means that I’ve made it exactly how I like it. There would be a problem if I didn’t love a mosaic by the time I am finished with it.
always working by Linda Billet
LMA: What would you like to learn/add to your mosaics experience?
Linda: About ten years ago, I started working with groups of people to make mosaics. I go back and forth between my work and community projects’ work that I facilitate. Just as I have combined mosaic and fusing in the past, I now want to combine my work and community work into the same mosaics. The two parts would be combined but distinct.
LMA: What do you find to be the most challenging aspect of mosaics?
Linda: Since I only use glass, I have to use the colors available. Shading is often a challenge. I might have a fantastic red but only in one shade so I would then have to alter not only that red part of the mosaic, but the rest of the mosaic in relation to the new color chosen.
any way you can by Linda Billet
LMA: What is your least favorite thing about mosaics and why?
Linda: At my age, I’ve been grumbling about transporting heavy materials and whining about the bulk and weight of a finished mosaic. I get frames custom made with metal reinforcement, and keep a beat-up old van to move these monsters. Really though, the logistics of moving big mosaics is a nice problem to have.
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space.
Linda: My commute to work is a stroll over my deck, and down steps to a boardwalk leading to my studio. I tiled the outside of my studio but the inside is just bare cement. It’s my sanctuary. I keep things organized and efficient for my work so I don’t waste space or time. My tables have hinged tops so they lay flat or sit upright like an easel. My double doors are glass and I can watch birds, deer, squirrels, an occasional snake, and nature in general. I keep my floor clear of glass shards so my dog can safely accompany me.
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Linda: If I am doing fast background or making mindless repetitive parts I listen to wordless music like Booka Shade, Tycho, or Big Wild, but also soundtrack stuff like Ramin Djawadi or John Williams. Most of the fusing I do takes all the focus I possess so then I work in silence. The tiny details take far more time than the rest so the bulk of my work time is in silence.
LMA: What is one of your favorite quotes or sayings?
Linda: My Grandma used to say “Matching is boring.” I agree.
fungus and fauna & milkweed and monarch by Linda Billet
LMA: If you could give readers one single piece of advice, what would it be?
Linda: Find satisfaction with what you have, and where you are, and what you are doing while you are on the journey to bigger and better. Often a really crappy event will stretch you or set you up for future glory. In hindsight, a leak in my bathroom and a broken glass panel worked for me.
LMA: Tell us about your single greatest mosaic moment:
Linda: There’s so many! Cherie, I don’t know if you remember when we ran into each other at a mosaic event in City Hall, Philadelphia. I had said I was trying to get over to Magic Gardens in hopes of possibly meeting Isaiah Zagar. Moments later, you spotted him close to where we were standing and took me over to introduce me to him. What was so surreal was that all three of us had a bit of our hair dyed blue at the time.
Cherie: Yes, I remember that night! But I totally forgot about all of us having blue hair dye!
LMA: Attach 3 of your favorite mosaics by someone else…Why do they capture your interest?
Linda: Maybe I’m attracted to these three artists’ work because it is so different than mine.
by Donna Van Hooser
Donna Van Hoosier’s skill is beyond my comprehension. It’s hard for me to choose which of her works is my favorite, but this bulldog is both hilarious and meticulously crafted.
by Helen Nock
Helen Nock’s work seems divinely inspired to me. I appreciate her little videos that point out minute details.
by Giulio Menossi
Giulio Menossi’s dimensional abstract style amazes me. I love that he uses many patterns and colors but still stays monochromatic.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Linda: Danny Amazonis’ work fascinates the fabric-olholic in me. Sometimes he’s cutting patterns down so small that they are unrecognizable and sometimes flowers, dots and stripes are evident. Just like a mosaic, his work looks abstract up close.
Beyond obvious art skill, James Hance has a brilliant way of mashing up pop culture. His art exudes happiness. One of my mosaics, “Meep Believing,” is a tribute to both Jim Henson and James Hance.
Yulia Brodskaya is a quilling artist that has expanded the possibilities of paper. She makes me want to do the same for glass.
LMA: What made you want to participate in the Diversity Mural?
Linda: This project was essentially what I appreciate about a mosaic. It was a lot of diverse things coming together. Each artist was given the opportunity to do whatever they wanted with few parameters.
Finger Print Heart by Linda Billet
LMA: What is the meaning behind your heart you created for the Diversity Mural?
The heart I created had a fingerprint on it. My message was about touching someone’s heart which is what is needed to change things. Ironically, a fingerprint is the subject of the mosaic I am working on at this moment and it is actually the same concept as the heart mosaic. Staff members at a hospital close to me are assembling glass on their breaks. I will fire that glass it into tiles to make a giant fingerprint!
imagine by North Schuylkill Junior Senior High School Linda Billet
LMA: Tell us a little about your artistic background:
Becky: I come from a very creative family, my mother is the botanical illustrator for Oxford university (for over 50 years now), my father is an amateur photographer and my brother is a graphic designer.
LMA: Do you have any professional art training?
Becky: I originally trained as a nurse for people with learning difficulties but decided to follow my true vocation at the age of 27 and did a degree in public art and design at Chelsea school of art in London. I decided to specialise in mosaic as I had always had a love of ‘sticking things on’.
Centenary of the end of the First World War by Becky Paton
LMA: How did you get started in mosaics? And how long have you been working in the medium?
Becky: Mosaic was a sophisticated progression from my collage work. I was very lucky at college to get a placement with the ex dean of Chelsea, making a mosaic floor for a Scottish town centre. We worked on the mosaic for 3 months and then I helped install it. It gave me a first class education and enabled me to teach my college summer school the moment I finished my degree, which was 23 years ago and I haven’t stopped!
Work in Progress by Becky Paton
LMA: What is your favorite part of the mosaic process?
Becky: Over the years I have worked in community and public art mosaics, had exhibitions both solo and group, taught classes and undertaken private commissions.
Even after all this time I am constantly learning. When I get a creative block, I never worry about it, as unbeknown to me, my brain is still whirring away in there with design and when the block lifts, I am literally on fire! I now enjoy the peace of that block because I end up working seven days a week when it lifts.
The domination of Queen Elizabeth 1 by Becky Paton
LMA: Do you have a favorite subject matter? What is it?
Becky: Apart from my community arts work, (adolescent mental health and children’s cancer being my favourites within this field), my passion has turned to mosaic portraiture. I started a series called ‘Warrior women’ which is rapidly growing in size. They are big, bright and dynamic, I started with Queen Elizabeth the first and my most recent has been Anne Lister aka Gentleman Jack. This was a wonderful commission for Sally Wainwright who wrote the tv series.
With Shibden on my shoulders by Becky Paton
LMA: Do you have favorite materials you like to work with? What are they?
Becky: When it comes to materials, I use it all. But I firmly believe, the better quality you can afford, the more beautiful the mosaic. I liken it to cooking, a few quality ingredients usually make a superb meal. That’s not to say I don’t use recycled objects as well. I do, you’ll find fossils in most of my work, plumbers washers, beads, buttons....if it works I use it.
Detail of Mary Anning and the Ichthyosaur by Becky Paton
Detail of The Golden Age of Disco by Becky Paton
LMA: Tell us a little about your studio
Becky: I’m lucky to have a studio in my garden, I work in chaos, I can’t help it, I’m too enthusiastic getting all my tiles out but after each project I tidy up, I feel it tidies and focusses the mind to allow new ideas and designs to flow.
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Becky: I always listen to music, mainly Bowie, Nick Cave, Kate Bush, Beck, Radiohead plus many more, or podcasts, Louis Theroux, Adam Buxton and Jon Ronson being some of my favourites.
LMA: If you could give readers one single piece of advice, what would it be?
Becky: In terms of giving advice to others, it would be about grout. Firstly, I always do a test strip to see which grout colour works best with the tile colour palette I have chosen but also be aware that one grout colour may not work for the whole of your design. I usually do two different grouts by masking each area off and grouting separately or I get my painbrush out and highlight certain areas either with an acrylic wash to stain the grout or a product called Fuga Fresca by mapei grouts which is a thin layer of grout you can apply on top of original grout to change the colour, a life saver when you feel you’ve ruined your mosaic through grouting, it happens to us all. And then, when you are grouted, why stop there? I regularly embellish my mosaics with Swarovski crystals, glitter, jewels, anything to make them pop and catch the viewers eye. It works, have a go.
As a last note, keep experimenting, try new materials, new subject matters, looser or tighter ways of working. Some will work and some won’t but you’ll learn from it all and enrich your future masterpieces. Wishing you all a happy, wonderful world of mosaic making.
Garden glitter ball by Becky Paton
LMA: Tell us a little about your artistic background:
Joanne: I’ve been an artist all my life, starting in grade school as the nerdy farm kid with a sketchbook. My art education is eclectic, including a BA in Theatre Arts (scene/light design) and later, an AAS in Horticulture where I learned to design landscapes. I’ve mostly learned mosaics through a series of in-person and online workshops, and by constantly making and testing ideas.
Threatened by Joanne Daschel
LMA: How did you get started in mosaics?
Joanne: I had been working hard in landscapes for several years and felt called back to art, but wanted to explore a new medium. In 2010, a week-long class was offered in my town to make an exterior mosaic. The teacher, Jan Miller, became my friend and mentor and encouraged me to seriously pursue the medium.
Cathedral by Joanne Daschel
LMA: What about mosaics resonates with you?
Joanne: I’m intrigued by the endless challenge of combining technical ability and artistic vision. I grew up in my dad’s machine shop, so the construction aspect of mosaic appeals to the “maker” in me. The long tradition of mosaics, and making artwork that can live in outdoor spaces, are features that draw me to the medium. There’s also the slowness of this medium that strikes a chord. I enjoy doing things that take a long time to see the result of your efforts, like growing fruit trees and cheesemaking.
Caught by Joanne Daschel
LMA: Do you have a favorite subject matter? What is it?
Joanne: My work is focused on nature, particularly the plants and animals that are found in my part of the world, Oregon’s Pacific coast. Besides seascapes, I like to focus on quiet moments in places like the coastal rainforest. I have strong views on environmental conservation, so lately I’ve been making work that reflects on the impacts and interactions of humans on the species that surround us. Nature is a great teacher in my view, so some works look at those lessons and inspirations.
Limit by Joanne Daschel
LMA: Do you have favorite materials you like to work with? What are they?
Joanne: I mostly work with smalti and stained glass, and occasionally stone. I enjoy combining the materials to create contrasts of depth, dimension, texture and reflection/absorption of light.
Emerge by Joanne Daschel
Fallen by Joanne Daschel
LMA: Tell us a little about your studio.
Joanne: I’m very lucky to be part of a small artist community with studios in the Lincoln City Cultural Center, just across the street from the Pacific Ocean. This historic red-brick, former elementary school has been transformed into the “hub” of our coastal town that is very spread out along the beach highway. This center houses art, music, dance, yoga, theater, and a program for LGBTQ youth. I taught many classes in my former, larger studio, but this year moved to a much smaller space since teaching was on hold. As it turned out, a wildfire just outside of town in Sept. 2020 displaced many local artists from their homes and studios, and the space is now housing 3 artists. I love being part of a creative community that shares and learns together.
Hearts and flowers by Joanne Daschel - for Orlando Diversity Mural
LMA: Tell us about your artistic background
KD: Recently, I have been remembering the great pleasures
of finger painting. One of my earliest memories is standing at the
easel in preschool and painting with my fingers on a large glossy
pad of paper while watching the other kids playing with building
blocks, reading stories, etc. I realize that the creative process, the
tactile nature of it, has almost always been an essential
expression of my life force. It did not seem to matter whether
someone else supplied me with materials or not, for there was
always something I would find that could be utilized; sticks,
leaves, charcoal from the fire, mud, rocks, and so on. I made art
all through school. In high school, I created an art portfolio in AP
(Advanced Placement) Art. I started college majoring in Interior
Design and shifted my degree to Psychology when my blueprint
teacher told us the first ten years of our careers would be
drawing other people’s blueprints.
LMA: Do you have any professional art training?
KD: Yes. During college I took all the recommended art classes for my degree towards Interior Design.
Stag Chair by Katrina Doran
LMA: How did you get started in mosaics?
KD: I spent years doing various types of work and had
reached a point where I needed to make art again. I tried painting
and could not achieve the feeling I wanted to convey. I did know I
needed a medium with more texture. I experimented with many
things and, after trying to personally reinvent the wheel of shards,
I took a weekend workshop with Sonia King and knew in that 2-
day workshop that this was what I had been looking for. I was
completely immersed in this fine craft when the piece I had made
from that workshop won an award.
LMA: How long have you been creating mosaic, art, etc.?
KD: That first mosaic workshop was in 2002 and I have not
stopped since. I so fell in love with the medium and realized its
potential of endless variety could take a lifetime to explore.
LMA: Did you start with mosaic or did you work in other mediums before working in mosaic?
KD: I always loved working with clay and because it was
considered a craft, I thought I needed to pursue a more
sophisticated line of work and chose Interior Design. I enjoy
putting a good room together and spent many years as a
decorator. I also received training as a gourmet chef, another love
of mine and worked as a chef for a small business. For many
years I performed as a variety of characters for special events
and made all the costumes and props. Those years taught me so
much about organizing a show, production, and getting over
being shy. It was the perfect lead up into what I now do as a
mosaic artist and teacher.
by Katrina Doran
LMA: What about mosaics resonates with you?
KD: The thing about mosaics that resonates with me is first,
the tactile nature of the materials and second, that I can mix all
kinds of things together. When I first started making mosaics, I
did not have money to buy any materials. I had my $12. pair of
side biters and whatever else I could find; broken plates,
discarded mirror, pebbles, rusty bits, and so on.
LMA: What is your favorite part of the mosaic process?
KD: My favorite part of the mosaic process may be the
design. Then, the gathering of the tesserae and then, the
conversation that begins to emerge as the piecing begins.
by Katrina Doran
LMA: Do you have a favorite subject matter? What is it?
KD: Lately, my favorite subject has been cats, big cats.
LMA: Where do you find inspiration for subject matter?
KD: Inspiration comes from everywhere for me. A
conversation may spark an idea, other people’s work can inspire
me, a broken shard, shadows cast by the trees, the changing
light of the day, and so on.
LMA: Do you have favorite materials you like to work with? What are they?
KD: No. I like them all. When I am working with natural stone I
get excited about the stinky ones, that sulphur smell just takes
me somewhere earthy and real. I am in awe and wonder of shells.
The reflective nature of Italian smalti is saturated and rich. Dishes
and figurines evoke memories and tell stories. Transparent glass
makes everyone happy. Then, there is gold…yummy, delicious
gold.
Tashi the Tibetan Tiger Rug by Katrina Doran - as viewed through the cat portal
LMA: What is your favorite thing you have created and why?
KD: My favorite thing I have created so far is Tashi the
Tibetan Tiger Rug. It’s an eight foot long by 3.5 foot wide marble
and porcelain mosaic. I made it for myself as the generator for
The World of Doran Studio. It makes me happy every time I step
on it and seems to bring joy to those who see it.
LMA: What would you like to learn/add to your mosaics experience?
KD: I want to experience a mosaic retreat with Helen
Bodycomb. I also have a sometime-in-the-future plan to host a
mosaic retreat in Greece.
LMA: What do you find to be the most challenging aspect of mosaics?
KD: I have no idea how I am ever going to get to all the ideas
LMA: What is your least favorite thing about mosaics and why?
KD: My least favorite thing about mosaics is perhaps large
installations. I get anxious each and every time. Plus, large
installations just hurt. They are hard on the body.
You are my sunshine & Superstar by Katrina Doran
LMA: Tell us a little about your studio.
KD: A few years ago we moved out of a 5,000 square foot
warehouse studio in the Dallas Design District to an old
farmhouse. Our plan is to create an art environment here. It is
taking some adjustment time as the warehouse was such a
different type of space. My studio is in the house right off of the
kitchen. I call it the Great Room because the floors are concrete
and there’s a giant fireplace. The picture window looks out over
the yard leading down to the Trinity Forest. The sound of a
fountain bubbles beneath that window and birds and bees meet
here, at this fount. I have a large standing worktable, lots of
shelves from an old law library, the kitchen table from my
parents’ home and a big easel on which to create.
LMA: Do you listen to music while creating (what type/bands) or do you prefer the TV (what shows/genera/channel)? Silence? Pod cast? Etc.?
KD: I prefer to work in silence. There are times when I will
listen to an audio book, a podcast or to music. However, all those
sounds get stuck in my head and I often feel disconnected from
the work when that happens. I don’t watch TV. I don’t even own a
television.
LMA: What is one of your favorite quotes or sayings?
KD: “Let’s Create magic!” It’s a line from the movie,
Magicians by James Merendino with Til Schweiger, Claire Forlani,
Fabrizio Bentivoglio and Alan Arkin.
by Katrina Doran
LMA: If you could give readers one single piece of advice, what would it be?
KD: Stay true to yourself and be ever curious.
LMA: Tell us about your single greatest mosaic moment.
KD: I have to say, my single greatest mosaic moment was
stepping on to the floor of the Hagia Sofia. I wanted to lay my
whole body down onto that marble and press my face into it.
LMA: Attach 3 of your favorite mosaics by someone else…why do they capture your interest? (see photos below)
KD:
1. Five Sisters by Emma Biggs - this one captures my
interest because Emma used ancient artifacts to create a
temporary installation. The textures, the pallet of colors from
natural materials, her discovery of the fingerprints of the makers,
the relationship of the making to the place in which it is installed
and its relationship to Mathew Collings’ painting. There is so
much here. I wish I could have seen it in person.
Five Sisters by Emma Biggs
2. Visionary II - (Lizard) Whisperer by Gila Rayberg - this
one is a favorite of mine and I like to think it is a portrait of me.
Gila’s use of broken dishes and her courage to create her own
style of work is fun to watch develop.
3. Cleo Mussi in her studio - Cleo’s works are fun to look
at. Her use of broken dishes and knowledge of pattern making
creates a fiber art aesthetic I am attracted to. I suspect her works
convey meanings made easier to bear by their playful nature.
Cleo Mussi
LMA: Do you have a favorite color palette?
KD: I don’t think so and yet, I do tend to gravitate towards
the more earthy colors and I often say my favorite color is a
mossy green.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
KD: Artists that influence me are ones who have or are
creating their own worlds: Nek Chand, Niki de Saint Phalle,
Raymond Isidore, Anado McLauchlin, Barbara Dybala. That’s
more than three so I will stop. There’s so many more.
by Katrina Doran
LMA: What made you want to participate in the Diversity Mural?
KD: I chose to participate in the Diversity Mural for several
reasons. 1. The mural was a Cherie Bosela happening. 2. I
believe human beings are curious creatures of which no two are
exactly alike. All the ways we are contribute to the whole. May
we learn to celebrate our variety and learn to be kind to one
another. The mosaic hearts express this for me. I also enjoyed
the process of creating hearts with several of my students. My
contribution was built in a community of love.
LMA: What is the meaning behind your heart you created for the Diversity Mural?
KD: See above. I will add this: I have to distinguish my own
judgements and prejudices not only towards others, but the
internal ones towards myself. These are often the ones that are
the most harsh. Once distinguished, I am able to relinquish those
judgements and as I do so, I open to a gentle kindness that can’t
help but express itself as compassion for others. The heart is a
symbol of love without measure, one that is ever opening and
expanding.
]]>
LMA: Tell us a little about your artistic background. Do you have any professional art training?
Lori: I studied art and environment design at Bowling Green State University earning a Bachelors of Fine Arts in environmental design. In my studies I took classes in ceramics and stained glass, water colors and exhibit and display design to name a few.
Rain on Main by Lori Kay Farr
LMA: How did you get started in mosaics?
Lori: In 2000 I was homeschooling my children and teach art to students in a home school co-op. I wanted to explore the world of mosaics with these children. So I taught myself how to make mosaics and then the children in my art classes. In 2012 I lead a co-op group of my students in creating a large scale mosaic pig for Cincinnati ArtWorks Big Pig Gig public art project. That is where my complete love of public arts began.
KanSOWsky by Lori Kay Farr
LMA: How long have you been creating mosaic, art, etc?
Lori: I have been creating art all my life but I fell in love with mosaics and have been exploring this art form for 20 years.
LMA: Did you start with mosaic or did you work in other mediums before working in mosaic?
Lori: I have done many mural paintings, set and drama building, designing and paintings. Many large scale art banners and backdrops along with acrylic paintings. But I primarily work in mosaics but I also love a challenge and will take on a new design project even if it is not a mosaic. Most recently I designed and painted a 16 foot long bar top for a local new Barcade opening in our town called “Pinball Garage”.
Lori painting the side of a three story building as a mural artists with StreetSpark - "Delicate Balance of Progress"
LMA: What about mosaics resonates with you?
Lori: I love the whole process and the details of piecing together broken pieces into a new image. Plus I loved puzzles as a kid and thrill of finding the perfect piece that fits together perfectly is a thrill for me.
LMA: What is your favorite part of the mosaic process?
Lori: I love all the steps of mosaic making even the grouting day.
Sephora by Lori Kay Farr
LMA: Do you have a favorite subject matter? What is it?
Lori: As for subject matter, I have a few favorite such and animals portraits, architectural images, nature, floral ,whimsical and abstracts.
LMA: Where do you find inspiration for subject matter?
Lori: A lot of my inspiration comes from photography and capturing a special moment in time. I just got a new camera and I am having fun learning how to capture new subject matters for future mosaics.
Alexander by Lori Kay Farr
LMA: Do you have favorite materials you like to work with? What are they?
Lori: My favorite material to work with is sheet stained glass. I live fairly near some glass factories and like to buy direct from them. I also love glass tiles. I love the look at smalti and would love to work with this material more in future projects. But I have used broken dishes, unglazed porcelain tiles and even plastic recycled bottle caps to create mosaics.
LMA: What is your favorite thing you have created and why?
Lori: This is a hard one. They all become your babies. I did a series of large mosaics based on local art and architecture from my community in Hamilton Ohio. I love doing pet portraits too.
Butler County Courthouse by Lori Kay Farr
LMA: What would you like to learn/add to your mosaics experience?
Lori: I would love to take a class and study the use of a hammer and hardie with smalti.
LMA: What do you find to be the most challenging aspect of mosaics?
Lori: Most challenging is photographing my glass mosaics and capturing the true color and sparkle of iridescent glass.
Wilby and Elroy by Lori Kay Farr
LMA: What is your least favorite thing about mosaics?
Lori: Least favorite is pricing and cleaning up after grouting.
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space:
Lori: My studio: I work in my home studio which is on the main floor of our home and I can be near my family and kitty cats. I usually only work on one project at a time. I am a super organized with my tessera and like to focus on one project at a time if I can. I do have a large three car garage which I have build some workspace to grout, work on large scale projects and even taught some weekend workshops.
I also teach mosaics at our local art center The Fitton Center for Creative Arts and I have a big studio space there where I teach several times a week to local adult students and even our local Boys and Girls Club. (Of course with the pandemic this have not fully open up again)
One Giant Pounce for Bearcats Nation by Lori Kay Farr
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Lori: I listen to many things from local talk radio, podcasts, to my favorite band The Elms. ( you really should check out this band especially if you love be good Midwest rock and roll. I also love to watch old sitcoms and tv shows while I work. Many times my husband will join me in my studio to watch our shows while I work. Important to have a comfy chair so family and friends and visit you studio and catch up on your days.
LMA: What is one of your favorite quotes or sayings?
Lori: Be Creative every day to find your joy.
Tapestry: Community Woven Together by Lori Kay Farr
LMA: If you could give readers one single piece of advice, what would it be?
Lori: Don't left fear of failure to stop you from trying. I turned 50 a few years ago and decided after being a mom, homeschool teacher, art teacher I wanted to say yes to opportunities even if I was afraid to fail. By saying yes, and taking a chance it opened many doors for me and helped me build lasting connections with my community and artists. These connections have given me some great opportunities from teaching mosaic classes, creating public art and even public speaking opportunities in our community and on tv. Just jump in and try.
LMA: Tell us about your single greatest mosaic moment:
Lori: My greatest moment, is just like a mosaic. Many small accomplishments that all together make me smile. But I would have to say the opportunity to create public art. I have had several. From creating two large scale pigs for Artwork Cincinnati, leading and teaching youth apprentices how to create mosaics and installing 34 panels along a busy street. Then in 2017 painting the side of a three story building as a mural artists with StreetSpark. In 2019 I created a six foot tall University Of Cincinnati Bearcat to honor John Glen and the 50th anniversary of the space walk. And just this past few months I made a 8’ by 9’ mosaic mural for the Cincinnati Zoo and Botanical Gardens using recycled bottle caps from around the United States. I had people sending me boxes for weeks. And just last week I completed 20 mosaic pavers. ( total 34 square feet) for the Kingwood Center Gardens new welcome center. They will be installed next week. But all in all I find the most joy from my public art projects.
African Penguins on the Coast by Lori Kay Farr
LMA: Do you have a favorite color palette?
Lori: I love color and definitely love beach inspired colors. No beige here.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Lori: I admire so many artists including your work Cherie. But if I had to pick three that inspire me:
Waves of Compassion by Lori Kay Farr
LMA: What made you want to participate in the Diversity Mural?
Lori: When I saw your call for hearts for a community public mural. This project spoke to my heart. I thought it was a perfect project to introduce to my mosaic students and we gather together at the Fitton Center to create hearts for your mural. The sense of community and connecting that was created through this project has inspired me to reach out to our local community in creating a similar type of project when every one can contribute to a large project. In this crazy world and especially now with social distancing it is important to find ways to feel connected and make an effort to build and lift each other up.
LMA: What is the meaning behind your heart you created for the Diversity Mural?
Lori: Mine hearts were in honor of my brother Dennis Harris.
Heart for Diversity Mural Orlando - by Lori Kay Farr
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LMA: How did you get started in mosaics?
Lynn: Growing up, I experimented with many different mediums. Some of my fondest memories are of getting to buy some new pastels or paints to play around with. As a teenager and young adult, I fell head over heels for photography, and I finished many university-level photography classes, developed film, made prints and slides, and took 35mm images for years and years. While my children were young, I continued taking photographs, and also began doing needlework and fiber art. During this time, I moved to Australia as an expat. While living there from 2001-2006, I explored many public mosaic installations and Aboriginal galleries and became fascinated by the depth, pattern, and texture present in the both the mosaics and the indigenous Aboriginal style of art. I was immensely drawn to the tactile and reflective properties of mosaic. So, as I learn best by doing, I began to study mosaic as a medium by creating various types of mosaic, closely concentrating on the work of prominent mosaic artists at the time like Martin Cheek and Sonia King. I read and re-read dozens of books on mosaic, committing myself to years of study and practice. My first pieces were glass-on-glass mosaics, and over the years, my work has evolved to be more sculptural and abstract.
Resilience by Lynn Monet Bevino
Resilience(detail) by Lynn Monet Bevino
LMA: What is your favorite part of the mosaic process?
Lynn: The most thrilling part of any project for me is the initial inspiration. My pieces are materials-driven, meaning my concepts originate primarily from seeing a particular color, mineral, natural object, or other tesserae that I feel drawn to work with. For example, I recently was able to obtain an exciting order of unusual cullet, the leftover scrap from the glass industry, and was inspired by its unusual color and translucency. It was the most intriguing shade of green! I didn't know what I wanted to do with it, only that I wanted to spend time looking at and handling that gorgeous satiny color, and wanted to express that same love and fascination with the viewer. I began working with the cullet in a sort of organic andamento, and instantly a color palette and vision for the final piece started to form and a new work was born. I like to focus on the impact of the color, the flow, and the textural statement of the work, and the piece builds intuitively over several months. That's when it gets most difficult. It's much harder for me to find the motivation to finish a piece than it is for me to begin one!
Anima Scindere by Lynn Monet Bevino
Anima Scindere(detail) by Lynn Monet Bevino
LMA: What is your favorite thing you have created and why?
Lynn: My favorite piece so far has been “Anime Scindere,” an abstract sculptural mosaic I created and worked on over a period of my life that was quite challenging. I am still learning from that piece, several years after its completion. Birthed at a time of great loss, transition, and growth, the work resembles a monstrous “hand” crushing in upon itself. The action of the piece seems agonizing and painful, yet the colors used, pale green and white, reflect newness and life. Even within the depths of the piece, one can find light and sparkle. The lesson is that even in the midst of one's soul tearing open, (the literal translation of the title, “Anime Scindere,”) there is still tenacity of spirit, the life, light, and beauty that no one else and no circumstance can extinguish.
Anime Scindere(top view) by Lynn Monet Bevino
LMA: What would you like to learn/add to your mosaics experience?
Lynn: In another life, I would have liked to create very large-scale sculptures and installations. My primary goal now is to continue exploring sculpture and incorporating natural elements such as minerals, coral, metal, and glass cullet to create organic shapes. Unfortunately, I suffer from fairly debilitating arthritis, so I am limited in the amount of time spent working and the amount of lifting I can do. I would like to improve my efficiency and ability to continue working with heavy pieces and heavy tess, so that I can pursue my passion even as my physical challenges increase. Fortunately, my creativity enables me to come up with some pretty original methods of addressing my needs. I have been known to utilize furniture, pillows, and even waste baskets to hold my work at just the right height and angle to allow me to work more easily. I know that pain is an issue that plagues many artists, and it is difficult enough to overcome the psychological blocks that creatives must regularly face, but couple that with physical issues and it can be enough to stop an artist from pursuing her calling. This is where transparency and community comes in. It is vitally important to share your struggles with other artists, to feel your day-to-day trials and triumphs with your tribe, and to know you are not alone. That's why I am so grateful for my close circle of fellow artists both locally and on social media. It is a vital connection and it's necessary for all of us to ensure our community thrives both as individual artists and as a whole.
Blue Star by Lynn Monet Bevino
Blue Star(detail) by Lynn Monet Bevino
LMA: If you could give readers one single piece of advice, what would it be?
Lynn: Let go of perfection. Perfectionism is one of the most significant single things that has threatened my artistic journey. I have always struggled with it, and it rears its ugly head often during my studio time. Sadly, many important books and courses on mosaic can often bring someone like me to a complete and paralyzing halt. Wanting too much to follow the rules, do the “right” method, be a good student, and adhere to the current expectations can freeze ideas before they can even form. The most heartbreaking thing is the stifling of one's own creativity, one's own voice, and being afraid to try something new. As a kid, I was always chastised by parents and teachers for “coloring outside the lines.” I wanted to color outside the lines! Color outside the lines, I say! Now THAT'S creativity!
Red Tide by Lynn Monet Bevino
Red Tide(detail) by Lynn Monet Bevino
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Lynn: Julee Latimer, Lynne Chinn, and Zemer Peled, three sculptural artists whose work never fails to excite me! I have been following Julee's ( juleelatimer.com ) work since the early days of my mosaic journey, and I think her influence can definitely be seen in my sculptural mosaics. Her book, https://www.amazon.com/Sculptural-Secrets-Mosaics-Creating-Application/dp/076435244X “Sculptural Secrets for Mosaics: Creating 3-D Bases for Mosaic Application,” is a gorgeous and very helpful guide for the process of creating mosaic sculpture. As a truly talented artist, Julee's body of work is evolving, expanding to include other media and techniques, which have grown from her knowledge of mosaics and continues to birth new and exciting art pieces.
Likewise, Lynne Chinn's ( www.lcmosaics.com) fascinating abstract mosaic pieces always thrill me and get my creative wheels spinning. Her use of shape, color, and texture makes my heart skip a beat and her pieces are endlessly inspiring.
While not technically a mosaic artist, sculptor and ceramic artist Zemer Peled
( www.zemerpeled.com ) is one of my favorite artists, and, inspired by her piece, “Large Peony and Peeping Tom,” I was stirred to physically attempt my first large textural piece. Her work is amazing, and she continues to be a source of stimulation and inspiration for me. All three of these extremely talented and successful artists are also powerful women with technical expertise and business savvy. They are motivating and important models for any female artist, both emerging and established.
“Aphrodite,” by Julee Latimer
“Arabesque” by Lynn Chinn
“Large Peony and Peeping Tom,” by Zemer Peled
LMA: What is the meaning behind your heart you created for the Diversity Mural?
Lynn: Over the years, I have been involved in numerous collaborative mosaic projects, including the Diversity Mural. The desire that drives me to contribute to these installations is the same that made me want to take part in this project, as well. The mosaic community is incredibly close and supportive, and collaborating with community members to make a statement about love, tolerance, compassion, support, equality, peace, respect, and solidarity in the wake of the Pulse nightclub shootings was a logical and beautiful choice. Many other collaborative art projects also convey similar unity, and it is an effective way of both supporting the community in which the project will be installed, and the community of artists contributing to the collaboration. I am currently preparing to exhibit my own group project, “Communicable,” which has brought together many artists from around the country and the world to share their experiences during the Covid-19 pandemic with one another and the viewing public. Group collaborations such as these are a meaningful and important way of bringing out artist's voices to address a topic contemporaneously, as well as a powerful method of marking and remembering powerful moments of our shared history. https://www.facebook.com/groups/communicable
LMA: Tell us a little about your artistic background:
Jacki: I have always been creative, drawing, painting and designing. I had no formal education outside of school art classes.
LMA: How did you get started in mosaics?
Jacki: I had read that mosaics were meditative and I was looking for something that could quiet my brain so I signed up for an adult ed class at the high school. I thought I would be making small projects like trivets or picture frames. The teacher came in with her hammer, hardie, clay, smalti and rabbit glue and taught us double reverse method! Wow…I was so lucky to have that be my introduction to mosaics.
By Jacki Gran
LMA: How long have you been creating mosaic?
Jacki: I began mosaics18 years ago
LMA: Did you start with mosaic or did you work in other mediums before working in mosaic?
Jacki: I volunteered at Metro Zoo and Miami Children’s Hospital Foundation coordinating and decorating large scale fundraising events. That experience led me to eventually open my own business. I co-owned a party decoration company, creating centerpieces, props and stage sets.
Jacki Gran Mosaic Family Equation By Jacki Gran
LMA: What is your favorite part of the mosaic process?
Jacki: I love all of it….sketching ideas, selecting materials, thinking about andamento and figuring out the challenges that come up as I lay the tesserae
LMA: Do you have a favorite subject matter? What is it?
Jacki: I have always drawn girls since I was a kid. I have boxes of sketches of girls waiting to come to life when I mosaic them.
Marisol by Jacki Gran
Imogen by Jacki Gran
LMA:Do you have favorite materials you like to work with? What are they?
Jacki: Mexican Smalti and Gold
LMA: What is your favorite thing you have created and why?
Jacki: My favorite piece so far is “Fire Within” I love the dramatic look, but more importantly that I can feel the emotion I wanting to convey.
Fire Within by Jacki Gran
LMA: What would you like to learn/add to your mosaics experience?
Jacki: Better hammer/hardie skills
LMA: What is your least favorite thing about mosaics and why?
Jacki: Spending hours working then not being satisfied with the work and removing it.
Cari by Jacki Gran
JADIS, THE WHITE WITCH by Jacki Gran
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space
Jacki: I have an enormous amount of smalti colors, gold colors, stained glass, vitreous, ceramics, beads, geodes, and assorted odds and ends. Basically, I’m a hoarder!
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Jacki: TV…movies I’ve seen a million times so I don’t have to look at the screen
by Jacki Gran
LMA: If you could give readers one single piece of advice, what would it be?
Jacki: Being part of the mosaic community has been the best, most rewarding growth I’ve had personally and as an artist. I joined the Society of American Mosaic Artists (SAMA) as a beginner and developed the skills, confidence and friendships I have because of of SAMA.
LMA: Tell us about your single greatest mosaic moment:
Jacki: Having ‘White Light’ accepted into the SAMA Mosaic Arts International at the Museum of Glass in Tacoma, WA. It was unreal. (and going to Spilimbergo was a close second)
White Light by Jacki Gran
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Jacki: Modigliani since I was in 4th grade….currently Dino Maccini and Beatrice Serre
LMA: What made you want to participate in the Diversity Mural?
Jacki: Being able to participate in the mural, even in a small way, was an amazing opportunity to join the community in putting love over hate
Carrie: I’ve always enjoyed crafts and art projects. I started taking classes when I was in college, exploring drawing, mixed media, and painting and then I found glass as an offering at a junior college and was hooked. I apprenticed for a couple of different studios, working with furnace glass, as well as fused glass, stained glass, and mosaics, and any other technique that involved glass! Since then, I’ve joined a few different professional organizations, like SAMA, and take classes from instructors and artists I admire whenever I can.
LMA: Do you have any professional art training?
Carrie: I’ve taken art classes, but always for personal growth, not to acquire a degree.
2019 and 2018 SAMA 100 Moments in Mosaic Projects - Creating a series to explore various techniques using the same pattern
2019 piece all on edge in tinted thinset (except for the green leaves)
2018 piece - layered saw cut glass with 22k kiln fired gold painted edges
LMA: How did you get started in mosaics?
Carrie: I started working in glass in 2005, and was initially wooed by fused glass and the magic of the kiln. The studio where I took classes was a small business with the owner as the only employee. I wanted to be there as often as I could and help out, but initially had no skills to offer. So, I took every class that the owner offered in order to grow my skills enough to be valuable enough to help out around the studio and eventually started teaching some of the beginner classes. This was the studio where I first encountered mosaics, but it wasn’t until I started attending the American Mosaic Society annual conference as a vendor that I was exposed to mosaics in a way that made we want to explore the art form more.
Glass on Glass Rose Window Commission
Leaded glass panel substrate lightbox
36"
2018
LMA: Did you start with mosaic or did you work in other mediums before working in mosaic?
Carrie: I took classes at a junior college to explore different forms of art. I took Voice classes, Guitar, Piano, Composition classes, Dance, Painting, Mixed Media and Drawing classes, as well as digital art classes. Basically, I am in love with all forms of art and was taking classes for personal growth and to make friends in a town I had moved to on my own.
When I found the glass studio, that is where I found the greatest sense of community and made friends that I still have to this day. I still enjoy other mediums and will occasionally work them into my glass and mosaic pieces, but more often than not, I will use those other mediums in teaching and my work with kids.
Nebraska Landscape commissioned stained glass lightbox with glass on glass inclusions, fused glass and painted glass
2015
24" x 24"
LMA: What about mosaics resonates with you?
Carrie: I imagine that like many mosaic artists, the act of breaking apart and putting back together is a very meditative and healing process. Working on pattern and repetition or just getting lost and inspired by the pieces can be a great way to step away from the stresses that we run into in everyday life. Sometimes just playing with various colors is just the right distraction. One summer I worked on nothing but the same mandala pattern in different colors and varying the lines, dots and shapes.
Glass on Glass Mosaic Mandala - I have done a whole series of these pieces and enjoy the endless color combinations. This is a class I teach at the Glass Craft and Bead Expo and will be teaching at SAMA in January.
LMA: Do you have a favorite subject matter? What is it?
Carrie: I come back to flowers and leaves again and again. I was a horticulture major in college and studied plants and really looked at them closely during plant identification classes. We would have to identify a tree in the winter time by the bark, the buds, and the growth habit, which is definitely a practice in observation. I am also inspired by textile arts and techniques. My mother was a quilter and my grandmother crocheted and embroidered. I learned to quilt from my mother and made a few quilts for friends, but I choose to spend my time working with glass more than fabric. However, I will often use quilt blocks as inspiration, or emulate techniques and translate them into glass and mosaic.
60" x 36", glass & mirror mosaic
102" x 36", glass & mirror mosaic
LMA: What is your favorite thing you have created and why?
Carrie: My favorite creation so far is the glass dress I made for the Glass Art Society conference Glass Fashion Show in Murano in 2018. It was a fun challenge to come up with an idea for a dress and then have to puzzle out how to make it actually be wearable. A flat pattern doesn’t fit a curved body, but I was able to draw on yet another class I took at the Junior College, Pattern Drafting. I learned how to adjust patterns to fit bodies, and the knowledge of how that works led me to the technique I used to make the corset. It was an epic project with a deadline of less than 7 months. It was January before I had the substrate built, and all the pieces needed to be finished and ready to wear by May! It was a very introspective and personally challenging period in my life, so it was very healing for me to have a project I could throw myself into. The evening of the Fashion Show where the runway was boats in the canals of Murano was a once in a lifetime experience. (There will be another Glass Fashion Show in 2022, location to be determined, and I am currently working on adding more components to the outfit to make it even glassier!)
"Aceso Corset Dress"
2018 Glass Fashion Show piece for the Glass Art Society conference in Murano. I used smalti from the Mosaici Dona Murano Shop in my dress!
This dress was also exhibited in the SAMA Mosaic Arts International exhibition in Nashville in 2019
LMA: What made you want to participate in the Diversity Mural?
Carrie: I was honored to be able to contribute to the Diversity Mural. The collaborative effort shows the positive energy and intentions of the community to honor those who are affected by acts of injustice, not just the single event that prompted the response. Hopefully, the Diversity Mural stands as a beacon that emanates healing energies and helps to grow empathy and understanding so that we can all realize we are living our lives together and we are not so different from one another.
LMA: What is the meaning behind your heart you created for the Diversity Mural?
Carrie: I created several small fused glass candy hearts with messages asking for and offering love.
LMA: What about mosaics resonate with you?
Sandra: The color and texture of mosaics attracted me initially to this medium. Seeing them in practical settings, in everyday life. The first mosaics I created were to enjoy in my own home; plant pots, stepping stones, floors and backsplashes.
Venus Study#2 by Sandra Groeneveld
LMA: Did you start with mosaic or did you work in other mediums before working in mosaic?
Sandra: Drawing and sculpture come most naturally to me, immediate and tactile avenues of expression. They both let me experience what I see. Sculpting is drawing in three dimensions. It has its challenges as well as advantages over a pencil. Initially I viewed any drawings only as part of the design process of making a mosaic. Currently I want my drawings to be the actual piece. The mosaic medium too has its challenges versus a pencil. But one of the great advantages is the concept of andamento. It is a unique part of tesserae placement and can be very expressive.
LMA: What is your favorite part of the mosaic process?
Sandra: Being in the middle, in the thick of a project is my favorite part of the process. I find the designing of the subject and selection of the materials/colors stressful; the agony of the blank page, the second-guessing if an idea or composition can still be improved. I haven’t been above eating an entire package of Oreos to get me through the first phase. For me, so much depends on having a well thought out palette of materials and distinct vision. If my goal is clear, then I can let instinct take over to make the countless small decisions, during its execution. When I am in the zone, I can let the analytical side take a back seat.
Konijntje by Sandra Groeneveld
Perdido Key Mouse by Sandra Groeneveld
Cow Detail by Sandra Groeneveld
LMA: What are some of your favorite materials, tools, etc.? What do you like about them?
Sandra: The choice of my materials and tools has evolved. I started with a household hammer to break up ceramic tiles, transitioned to vitreous tile with nippers and now enjoy using a hammer & hardie on marble the most. I jump around to the different materials depending on the project. At one point, I found the possibilities of mosaics paralyzing, too many materials, and too many directions to go. My path forward always had me looking back to ancient times, to the admiration I have for the masters working in stone and glass. Using marble and smalti seemed like the Holy Grail and the hammer & hardie offered the best control, so that was a clear next step for me. Initially, for economy, I only practiced my cutting techniques on remnant marble. The organic quality of stone was a revelation. Its inconsistencies were an asset. This meshed perfectly with the experimentations of letting a sketch be the goal versus merely using it as the composition’s “cartoon”.
Barn Owl by Sandra Groeneveld
Sable by Sandra Groeneveld
LMA: Do you have a favorite subject matter? What is it?
Sandra: Nobody has to look very hard to see what interests me the most: animals. That has been the case all my life; mosaic is simply the medium I am currently working in. With that though, I do look at subjects with an eye on what would be the most interesting when done as a mosaic. Subjects with lots of texture or distinct fur and feather patterns are ideal challenges. Having more control over how to describe my subject matter meant getting a good handle on what andamento was and how to use it. I was obsessed with “getting it”, making it come naturally. Working on a few pieces, which were one solid color, no value, was instrumental in making it all click. Everything had to be described with only the size, shape and direction of the tiles.
Title TBA by Sandra Groeneveld
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space
Sandra: I call my workspace “the lab”. That makes for a less intimidating expectation for comes out of that space. The room is 12’ x14’ with a concrete floor and was meant for all my various creative pursuits. It has a great view of the front garden, which features a birdbath to invite the birds. After working with mosaics for about 15 years, accumulating all the various materials to experiment with, I now carefully step around the perimeter of the room since a narrow walkway is all that is left. Floor to ceiling shelves, and stacks of materials on the floor encroach on 3 small tables at the center. The conflict between workspace and storage is clearly evident, but having all the materials in view keeps the juices flowing.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Sandra: With the entire world at your fingertips now, I get whiplash from the variety of artists who impress me on a daily basis. Favorites come and go depending on what I am working on. As far as who influenced me to be me, that is a different story, since books were the only artistic influence back in the pre-internet days. An eclectic trio of artists definitively set up my style. I read The Adventures of Tintin by Herge (Georges Remis), the graphic novels about the journalist Tintin and his dog Snowy, hundreds and hundreds and hundreds of times as a child. I read them for escapism but the composition, story telling, adventures throughout the world; all executed with magnificent drawing skill, seeped into my consciousness. Another artist, Rien Poortvliet influenced my drawing style the most. His massive sketchbook-like volumes with subjects ranging from dogs to horses to wild animals to farm life in the Netherlands fed my mind and eyes. His way of studying the behaviors of animals and people alike, via his humorous observations and painterly studies set a lifetime goal for me to aspire to. Rounding out those whom I idealized is Rembrandt van Rijn. The lighting of his paintings, the moods created, was what stuck with me the most.
As the Fish Rots by Sandra Groeneveld
LMA: What is one of your favorite quotes or sayings?
Sandra: Less is more.
LMA: What made you want to participate in the Diversity Mural?
Sandra: I wanted to contribute to something good, something of beauty to counteract the bigotry that pollutes and destroys, as it did at the Pulse Nightclub. Being present and being a small part of the effort to honor the lives lost was important to me. I made my hearts as big as I was allowed to, one in each color of the rainbow; colorful shouts. At Luna Mosaic Arts, seeing all the folks working to prepare the contributions for installation would make the tiniest heart swell. Every horizontal surface was covered with the expressions of support from all over the world. Cherie did an amazing job wrangling all the volunteers through many hot Florida days to execute this tribute. That is what I like about the Diversity Mural the most, the remembrance of sorrow is mixed with the work of strangers saying that they care.
Hearts for the Diversity Mural by Sandra Groeneveld
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LMA: Tell us a little about your artistic background:
Shawn: I guess looking back on my life now, I was always creating art in one form or another. I loved to doodle portraits with just a regular pencil and paper when I was a kid—I remember on long car rides with my mom and sister I would doodle a picture of someone who we all knew and make them guess who it was. I grew up in the little village of Wolverine in rural Northern Michigan, so the wilderness was a perfect canvas for designing forts out of tree branches, rocks, and whatever else we could find. As I got older I went through phases.. I was big into collage art in high school, then got obsessed with oil pastels for awhile, ultimately falling in love with mixed media mosaics.
LMA: Do you have any professional art training?
Shawn: In short, no. Not beyond my senior high school art teacher. She adored me and I adored her. I would come up with the weirdest creations using tar paper and charcoal and makeup and flame that year. I’m sure they were hideous, but all she could do was heap praise on me and tell me how “unique” my art was. Her dream was for me to attend Parsons School of Design in NYC. She would bring me pamphlets weekly and shower me with compliments trying to persuade me to apply. Perhaps her nudging for me to move away was less to do with my talent and more that she recognized I really didn’t fit in the small town. Either way, it’s for the best I never went to art school. I was so introverted and naive at the time, NYC would have eaten me alive!
Be Brave by Shawn DuBois
LMA: How did you get started in mosaics?
Shawn: In the late 1990’s I had left Wolverine and was living in one of my first apartments in Grand Rapids, Michigan. I had been dumpster diving at the apartment complex and pulled out an old wooden table. I was looking for ways to refinish the top of it and my friend suggested I mosaic it with stained glass. I didn’t know anything about mosaic art. I can’t even say for sure if I knew what the word ‘mosaic’ meant at the time. I certainly didn’t have any mosaic tools, so I think I just broke up the stained glass sheets on the carpet in my living room with a hammer and glued the pieces down on the table. I’m sure my downstairs neighbors hated me!
LMA: How long have you been creating mosaics?
Shawn: Maybe 16 years or so now? At the time I made that first mosaic table my life was a mess. I was constantly jumping from job to job, apartment to apartment.. I had no stability, certainly no space to create a studio. Then, in the early 2000’s I was on a trip to New Orleans, LA with my boyfriend and we happened to walk into a shop and the entire floor was a mosaic! I had never seen anything like it in my life! They had used broken beer bottles and bottle caps and and it just sent my head spinning! I knew in that moment I wanted to explore this art form more.
Art Saves Lives by Shawn DuBois
LMA: What about mosaics resonates with you?
Shawn: Just how versatile of an art form it is! Being able to tie the past to the present.. I love being able to place a piece of vintage china from a hundred years ago next to one of my handmade tiles or a rock I found on a trip.
LMA: What is your favorite part of the mosaic process?
Shawn: Finding tesserae to use in my creations! I can spend entire day alone just driving from one thrift store to the next. It just gives me such excitement to search for interesting junk to use. I also love a good beach.. found objects, old driftwood, rocks...! Once this pandemic is over the first place I’m going to travel to is Lake Superior! I need my rocks!!
God Saves the Queen by Shawn DuBois
Follow Your Own Brick Road by Shawn DuBois
LMA: Do you have a favorite subject matter?
Shawn: Hmm. Maybe overcoming adversity? I don’t know. Almost all of my mosaic work has a simple positive message written right out in it. ‘Be Brave’, ‘Express Yourself’, ‘Follow Your Own Yellow Brick Road’ ect. So I guess just being true to yourself. Ultimately just respecting yourself. Showing yourself mercy. Just taking a stand, daring to disappoint. You’ll lose friends and family for sure. But you will never regret telling the world the truth about yourself or how you feel.
LMA: Where do you find inspiration for that?
Shawn: Injustices I see everyday or read about in the news. Blatant bigotry and discrimination and crime by some of our “so-called” leaders. My own life and memories, my experience of growing up feeling like an outsider.
Wake Up by Shawn DuBois
LMA: Do you have favorite materials you like to work with?
Shawn: I love taking something seen as “trash” and using it in a work of art. I guess it’s sort of like a silly metaphor.. like “You threw me away, you dismissed me, but look at me now—I survived!”
LMA: What is your favorite thing you have created and why?
Shawn: I never look back on anything I’ve made. For me it’s all about falling into the creative process in the moment. I do remember last year I made my first mosaic made entirely out of ceramic tesserae that I made in my kiln, so that was something!
Weird Artist Type by Shawn DuBois
LMA: What would you like to learn or add to your mosaic experience?
Shawn: Forming a deeper connection to the history of mosaic art as well as the future of it. It is one of the greatest gifts that has been given to me in this lifetime. I don’t have any aspirations to become technically “better” at it. I just hope to grow and evolve with it. It’s such an important relationship in my life. I hope to always honor that.
LMA: What do you find to be the most challenging aspect of mosaics?
Shawn: Just the mess that it makes to create mosaics. I’m not very good at tidying up my studio on a regular basis, and the next thing I know, everything in there is buried under junk and glass shards!
You are Starting to get on my Fucking Nerves by Shawn DuBois
LMA: What is your least favorite thing about mosaics and why?
Shawn: Grouting! It sucks and everyone knows it!
LMA: Tell us a little about your studio:
Shawn: It should be wrapped with yellow ‘CAUTION: DO NOT ENTER’ tape.
LMA: Do you listen to music while creating? Or do you prefer television, podcasts or silence?
Shawn: It’s always been music for me while creating. My boyfriend bought me an Echo Dot for my studio a couple years ago, so that’s all I’ve been using since. I love being able to just walk into my studio and say “Alexa, play me the new Fiona Apple album!” And she says “Here’s the music you requested.” It makes me feel powerful and privileged! Sometimes she says the music I requested is only available with a ‘subscription’ to “Amazon Music Unlimited”. I don’t like it when she says that.
Tell Me a Happy Ending Story by Shawn DuBois
Rescue Me by Shawn DuBois
LMA: What is one of your favorite quotes or sayings?
Shawn: I’ve always loved a good quote! Umm.. how about “Take your broken heart, turn it into art.” -Carrie Fisher. That’s a good one I heard recently.
LMA: If you could give readers one single piece of advice, what would it be?
Shawn: Look at your own life. Think about the things you’ve lost. The people you’ve lost. Times you’ve felt smart and times you’ve recognized your own ignorance. The things that scare you. The memories that make you feel shame. Times you were brave. Times you were a coward. The things that make you feel like a freak of nature. These are your strengths. These are the only things that make your existence on this planet uniquely yours. No one can take any of these things from you, and they are all as equally important and beautiful. Now go channel them into creating your art.
Live Green by Shawn DuBois
You Can Go Your Own Way by Shawn DuBois
LMA: Tell us about your single greatest mosaic moment:
Shawn: I’d have to say that very first mosaic. That table back in my old apartment more than a couple decades ago now. I was brave enough to try a new form of art, feel like a failure, and yet keep on persisting.
LMA: Who are your favorite artists or most influential artists in your work?
Shawn: I don’t really have any favorite artists. I have moments of being inspired daily when I see things creative beings have created, but I wouldn’t say there’s any particular artist I favor. Depends on my mood I guess. I’m as equally inspired and influenced by the cute drawings my little nieces and nephew are always sending me in cards than I am by anything I’ve seen in any art museum.
I Did it My Own Way by Shawn DuBois
LMA: What made you want to participate in the Diversity Mural?
Shawn: As soon as Cherie Bosela put the call out for the mural in Orlando I knew I wanted to be part of it. I was crushed when I learned of the Pulse Nightclub massacre. I couldn’t comprehend it then, and I still can’t to this day. To be a small part of the healing process, to create something beautiful and inspiring to honor the memory of the lives lost to senseless gun violence. It was touching to see all the artists from around the world step up to participate, not just those of us in the LGBT community, but allies from all over the world. I haven’t been to Orlando since the mural was completed but I’m looking forward to visiting it.
LMA: What is the meaning behind your heart you created for the Diversity Mural?
Shawn: I created six simple hearts. One each color of the rainbow. I didn’t want to choose one color of my tesserae to use and make the others feel left out. I felt like including them all, so I did! It takes all kinds of kinds to make the world beautiful!
LMA: Tell us a little about your artistic background and how you got started in mosaic art:
Alison: I have always been 'arty' and willing to give anything a go. I've upcycled and recycled all my life, from breathing new life into old furniture to making items from scratch. My very first mosaic came about when I had very little money and had a rotten window frame that needed fixing. I chiseled out the rotten wood, filled it (which looked unsightly!) and then covered it in mosaic from a mirror I'd dropped and wanted to reuse. I was 18 and remember feeling so proud! The way the light pooling through the glass bounced off the shards creating streams of light in the room got me hooked.
LMA: How long have you been creating mosaic, art, etc?
Alison: My first mosaic was when I was 18 and I went on to apply mosaic to interior and exterior personal projects like splashbacks, walls, fire surrounds and floors, but never for anyone else. I made lots of mistakes which didn't matter as it was only for me and a great way to learn with no pressure. I didn't start doing it 'professionally' until 2013 (25 years later!) when I launched my business and started a Facebook page and then eventually my website.
LMA: What about mosaics resonates with you?
Alison: When I rediscovered mosaic in a big way 7 years ago, it really began as therapy. I could become totally immersed in the process. It teaches you patience and perseverance. Mosaic isn't instant, it takes time and careful thought. Each piece is considered individually on it's merit and it teaches you to constantly look at the bigger picture. Often it's not until the last piece is laid or grouted that that the work leaps to life.
The fact that broken pieces become whole again resonates with me too. I also adore the tactility, the differing levels and the way the light reacts with unglazed tile, mirror, glass, china and pottery all sat next to each other. Mosaic art comes to life in a way no other art form excites me. Especially true for 3D substrates and large scale sculptures.
LMA: What is your favorite part of the mosaic process?
Alison: I love everything about the mosaic process but I have to say I adore grouting! Grout is so vital. Get the colour wrong and the carefully clipped tesserae blend away. When you get it right however, everything comes together and really adds depth.
LMA: Do you have favorite materials you like to work with? What are they?
Alison: I mainly work with glass, vintage china plates and ceramic tile. I love using the patterns on the china. For example I'll search through my collection for ages choosing a pattern that would make a perfect 'eye' for example. You need to see things in the design other than what it is, when you open your mind to that, you see what they can become rather than what they are.
LMA: What is your favorite thing you have created and why?
Alison: Everything I have created is important to me because people have them in their homes all over the world. That's a huge deal I think...however if I had to choose a favourite it would be one of the two large 3D sculptures. Either the 8ft Giraffe for Worcester Stands Tall (which was auctioned for charity in 2018 raising £15k) or Sebastian the 6ft Hare commission as it is the longest I've ever spent (6 months) on one project and was a highly personalized piece for my clients that will be handed down for generations.
LMA: What would you like to learn/add to your mosaics experience?
Alison: As I've never taken a class/workshop/any 'formal' training in this medium it would be a dream to study mosaic in Italy. I'd love to learn traditional methods as my process is modern/contemporary.
LMA: Tell us a little about your studio space:
Alison: My studio is a double garage at the end of my garden. It's cold and draughty and will need to be rebuilt from scratch one day! Until then, it's still amazing to have the largest space I've ever had as a workroom and it's flooded with natural light.
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Alison: I'm not a fan of silence! I always have podcasts, Ted Talks, DVDs or music playing whilst I work. Oddly, some of my best pieces have been created whilst watching Breaking Bad for the millionth time!
LMA: What is one of your favorite quotes or sayings?
Alison: One of my favourite quotes. I have experienced negativity in relation to starting a mosaic business or taking on large projects. I always found their concerns to say more about them than whatever it was I was doing!
“The person who says it cannot be done should not interrupt the person who is doing it.”
– Chinese Proverb
LMA: If you could give readers one single piece of advice, what would it be?
Alison: My advice would be to just start...sounds simple and it is. Don't procrastinate, think too much or worry about what can or cannot be achieved. By starting you're already doing more towards whatever your goal is than those who are not. If this is applied to mosaic, you may feel overwhelmed, don't know where to begin. Buy a beginners book, research the basic tools and just get cracking. I believe we get so consumed in this era of everything being 'instant' that we can feel like we're always playing catch up. The mosaic art online can be intimidating. Ignore all that. Sure, be inspired, but start at your own pace and make what makes you happy one piece at a time.
LMA: Tell us about your single greatest mosaic moment:
Alison: My single greatest mosaic moment was going to visit my mosaic giraffe sculpture displayed in a shopping centre. It was a well publicized art trail where people were on the hunt to find all the giraffes created by local artists.
I stood back and was able to watch their reaction. They didn't know I was the artist so their reactions were genuine, not just saying what I wanted to hear so to speak! It was incredibly moving to see children gasp as they looked up at the giant sculpture and ran around pointing out things they had found. The adults were equally impressed and at that moment it clicked. This is what art is all about. The comments I overheard that day will stay with me forever.
LMA: What made you want to participate in the Diversity Mural?
Alison: I wanted to take part in the diversity mural because I felt it really important after what had happened to show the LGBTQ community that there were supporters worldwide. I knew it would be good for the local community and also the wider community online. Art sends a message and can heal. I think that's important in this digital age where hate can be spread like a virus to counteract it with public displays (literally) of support. I also wanted to support the artists Cherie and Jennifer and be a tiny part of their big vision. They worked so hard on the project.
LMA: What is the meaning behind your heart you created for the Diversity Mural?
Alison: The heart I sent included a back stamp from a plate that was 'Made in England'. The only way I could think of including where the heart had been made and sent from, again to send the message that globally people were hurt and reaching out.
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LMA: Tell us a little about your artistic background:
Angie: I have always been involved in some form of artistic endeavor, beginning with dance. I have always felt a strong pull to express myself artistically.
Green Tea Mirror by Angie Heinrich
LMA: How did you get started in mosaics?
Angie: My mother-in-law took me to my first art class about 20 years ago. It was so much fun that it started to fill all my spare time. I was obsessed! I was working in the tech industry at the time of the 2001 tech crash, so I decided to sell my brand-new car and buy mosaic materials. I am really fortunate to have a really supportive husband and I felt I had the freedom of a few years to figure out how to make my business profitable.
LMA: How long have you been creating mosaic, art, etc?
Angie: For almost 20 years.
LMA: What about mosaics resonates with you?
Angie: I love mosaic art because it is incredibly accessible. Anyone can create something meaningful and beautiful with a few tips, the right materials, and a bit of direction. I personally find creating mosaics meditative and my studio has become my sanctuary of peace, introspection, and soul-filling satisfaction.
Aztec Blue Mirror by Angie Heinrich
LMA: What is your favorite part of the mosaic process?
Angie: Working with color feels like my soul’s purpose. Color can exude such powerful emotional responses and I aspire to help raise the vibration of the homes and lives of my clients and students.
LMA: Do you have a favorite subject matter? What is it?
Angie: I am always pulled to create pieces that are predominately symmetrical. I find working with symmetry and the final piece to have a rhythm that feels peaceful and wraps one in calm and beauty.
LMA: Do you have favorite materials you like to work with? What are they?
Angie: I work primarily with glass beads and glass tiles. The combination of the two creates a texture, interest, energy, and sparkle. I love anything that moves light! I am especially drawn to anything iridescent.
Mandala Sanora Mirror by Angie Heinrich
LMA: What is your favorite thing you have created and why?
Angie: I am really loving the mandala mirrors right now. I love their spiritual meaning and I find the entire process inspiring and enchanting.
LMA: What would you like to learn/add to your mosaics experience?
Angie: I want to dive deeper into the vibration of color and how it specifically affects us. I have a strong intuition regarding color, but I want to understand it more from a scientific and psychological point of view. This is where I am focusing my education right now.
White Bubble Mirror by Angie Heinrich
LMA: What is your least favorite thing about mosaics and why?
Angie: I think my least favorite thing to do is grout. Lol. Thankfully, I have a wonderful group of women that help me grout on a regular basis.
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Angie: One of my favorite things to do in my studio is to listen to audiobooks. It feels so luxurious to have an amazing reader read a book to you. I get lost in fabulous worlds and emerge refreshed and entertained. Sometimes I will go through 3 books in a week! I do have some daily/weekly podcasts that I listen to occasionally. I’m always looking for suggestions.
Mina Mirror by Angie Heinrich
LMA: What is one of your favorite quotes or sayings?
Angie: “Creativity is how I share my soul with the world.” -Brene Brown
LMA: If you could give readers one single piece of advice, what would it be?
Angie: Create and experiment with what brings your heart joy. It will lead you down a path and open doors you didn’t even know were there. Along the way, be kind to yourself and leave the judgement of others at the door. You really don’t have to finish that piece that no longer brings you joy.
Noland Mirror by Angie Heinrich
As long as I can remember, art has always been a part of my life, receiving my first award in a “Law Day U.S.A.” poster contest, May of 1964. After graduating college and becoming a pediatric nurse, and while raising my three children, I continued working in many different mediums of art, being juried into shows and winning awards in ceramics and mixed media.
For the past 15 years mosaics has been my full time passion, seeking out training from top mosaic artists from the US and around the world. My work can be found in private collections and community projects in the US and abroad. I’m extremely proud of being apart of a community project at the “Paddington Train Station” in Australia.
After several years of working in mosaics, I began incorporating handmade pieces, all types of glass, ceramic, beads, wood, metal, and any other material that calls me. I try to think outside the box; each wall relief and 3-D piece consists of attention to details in the design elements, color choices and selection of materials. My goal has been to develop my own unique, recognizable style, which I feel I have finally achieved. Yearning to exchange ideas with fellow artists, only adds to my craving to learn, improve and create. In 2017 I was instrumental in hosting the SAMA (Society of American Mosaic Artists) conference in Detroit, bringing 300 people to our city. At this event we made a 3 panel wall piece which we donated to the new ER at Children’s Hospital in Detroit.
Mixed Media Mosaic Masks by Joan Schwartz - Photography by Eric Law
I am an active member of the SAMA, Mosaic Artists of Australia and New Zealand, Mosaic Artists of Michigan and the Detroit Artist Market. I am now teaching mosaics in my studio, and have the wonderful opportunity to teach at Luna Mosaic Arts, in Orlando, FL, after which I will be doing a month long artist in residency program at the Olive Stack Gallery in Listowel, Ireland this coming June.
One of the many highlights of my mosaic career is being juried several times into MAI (Mosaic Arts International). In 2017 this piece “Breaking Out in Style” was chosen to be in the MAI, and purchased by a mosaic collector from California.
Whether I am interpreting a client’s vision or creating my own personal concepts, my enthusiasm for mosaic art and pride in workmanship is evident in ever completed piece. Working in my studio and with other artists of all levels, takes me to my happy place.
I met Jennifer Kuhns at a SAMA conference through a mutual friend. I had known her work long before I met her. I love her imagery and use of color! Her work is very precise, which you will notice. I also love the hint of Art Nouveau in her artwork.
It's been wonderful getting to know Jennifer over the past several years. And I'm excited that you will get to know more about her too.
LMA: How did you get started in mosaics?
Jennifer: I had been exploring mediums throughout my 20s, even showing and selling at festivals and shops. I went through phases where I worked in oil and chalk pastel, acrylics, ceramics, linocut, collage and wire jewelry. But in 2000, I was living in a rental owned by friends, and there was an ugly repair job around the bathroom toilet. My landlords gave me a box of broken tiles and asked if I wanted to cover it with mosaic. I used a hammer to bust the tiles and attached them to the wood base with tile mastic, because there really weren’t online resources for good mosaic information like we have now. I loved the whole process: breaking things and gluing them back into something interesting. It took me a long time to learn correct methods and to hone my skills, but it was the first medium that hooked me for good.
Gabija by Jennifer Kuhns
LMA: What about mosaics resonates with you?
Jennifer: The process of piecing cut and broken pieces into something whole is a satisfying experience, but I think the strongest draw for me is the way mosaic can be permanently integrated into spaces, adding artistic touches to homes, businesses and public spaces. It’s art that can be walked on, touched, washed, rained on, etc. My favorite part of my work is adding something surprising to an otherwise utilitarian environment, like stair risers or floor/sidewalk inlays, and the ability to create durable murals that sparkle and shine. Additionally, indirect methods allow me to fabricate the artwork in my studio, then to install it within a short time at the job site.
LMA: Do you have a favorite subject matter? What is it?
Jennifer: I tend to work in two different styles: stylized designs and photorealistic. When I’m making photorealistic mosaic, I love to make portraits. It’s extremely challenging, but so rewarding when it comes together and the face emerges. But I have the most fun making stylized mosaic with folk-art influences, incorporating a lot of opus sectile and bright colors. I studied culture and mythology in college and I love tracing the origins and connections between symbology of different cultures, and the common theme of symbiosis with nature resonates with me.
Tahoma by Jennifer Kuhns
LMA: Do you support any charitable causes? Which ones and why?
Jennifer: I have been working with at-risk teens for 5 years at a rural high school, and I try to do my best to be an advocate and ally for people of color and the LGBTQIA community through projects like the Diversity Mural. Currently, Cherie Bosela and I are coordinating a global mosaic project where mosaic artists around the world have been making mosaic hearts and sending them to Luna Mosaic Arts. They will be installed on a large wall in Orlando, forming a rainbow of hearts that are floating away from a figure blowing kisses. The mural is a message of support for the LGBTQIA community. We are still raising funds to support the installation of this project at www.gofundme.com/diversitymural.
LMA: What is your least favorite thing about mosaics and why?
Jennifer: The length of time necessary to create a commission is often an obstacle because clients often don’t understand the process and benefits. I’ve had clients balk at $200 per s.f., telling me that a fellow artist does another type of wall treatment for only $8 per s.f. Actual fabrication and installation of large-scale installations can be grueling, and I need to learn ways to take better care of my body.
Shower Installation by Jennifer Kuhns
Shower Installation by Jennifer Kuhns
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast? Etc.?
Jennifer: I’m a podcast addict. I listen to a wide range of podcasts while working, from politics to history to pop culture. I try to learn as much as possible while I’m working with my hands.
LMA: What is one of your favorite quotes or sayings?
Jennifer: “Be careful what you get good at. You’ll spend the rest of your life doing it.”
LMA: If you could give readers one single piece of advice, what would it be?
Jennifer: Try not to expect a specific path for your work. Just make what you enjoy making and see where it takes you. No two artist’s paths are the same.
Sauna Shower by Jennifer Kuhns
Window of Compassionby Jennifer Kuhns
LMA: Tell us about your single greatest mosaic moment:
Jennifer: That is very hard to choose. It might be the moment I went to continue working on a mosaic of the Dalai Lama that I had been struggling with for about a week when I first started learning to use photorealism, and I clearly saw his realistic eyes looking back at me. It was a powerful moment.
Dalai Lama by Jennifer Kuhns
LMA: Attach 3 of your favorite mosaics by someone else…Why do they capture your interest?
What, This Old Thing? by Donna Van Hooser
This mosaic is so skillful, but doesn’t take itself seriously. I love that it is whimsical, but done with such detail and technical acuity.
What, This Old Thing? by Donna Van Hooser
Four Seasons by Irina Charny
I love Irina’s references to mythology, and her signature style that is obviously influenced by Baltic folk art imagery. I really enjoy the mix of materials that she incorporates into her work.
Four Seasons by Irina Charny
La Primavera by Michael Kruzich
This is such a beautiful and uplifting mosaic, and again SO skillfully assembled. The light and shadow is perfect, and I am awed by the subtle wings that appear within the foliage behind the figure. Just amazing!
La Primavera by Michael Kruzich
LMA: Do you have a favorite color palette?
Jennifer: I think I have a signature palette when I’m working in stylized designs that are very reminiscent of folk art found from Mexico to Baltic countries; bright colors that include red, teal, orange, pink and lime green.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Jennifer: I feel like I learn a little bit from each of the artists I follow. I really don’t feel I can pick 3. And honestly, my biggest influence is travel. I love traveling to find arts and crafts all over the world and, when possible, to meet the craftspeople. I take thousands of photos of the arts and crafts that I discover, from murals to masks to pottery to textiles, and I often sketch the basic designs to study the lines and themes.
Work in Progress by Jennifer Kuhns
by Jennifer Kuhns
by Jennifer Kuhns
One of the great things about attending SAMA conferences are the people you meet, and those you get to know just a bit better than before. Putting a face with a name is good, but being able to put a personality with a face and name is so much more rewarding!
This year’s SAMA conference in Boston, was one that really did that for me, and one of the people I had the pleasure of interacting with was Dianne Sonnenberg. Dianne Sonnenberg has been a well know name in the mosaic community, and to me, via the internet for years. It was not until I met her in person that she became so much more than a name and images of her artwork.
I shared with Dianne that I tell my children often, that if I was leading the life today that I dreamed about in my youth, I would have sold myself short. Today, I do my best to stay in tune with the opportunities and creative inspirations which come my way on a day-to-day basis, trying all the while not to have expectations or self-imposed limitations. Like anything new, it takes practice to change ways of thinking, behaviors, and comfort zones. I find it is the people I cross paths with in life, no matter the length of our journey together, that influence me the most. They are the sparks that light new paths to travel.
Dianne is a person who I feel a kin to. She has not only a desire, but an eagerness to get in touch with her inner-self. Whether it be her heritage, her creative process, or contributions to others creative journeys, she is always moving in a forward direction on her path. My feelings of kinship are not that I feel I am the same, but in that I aspire to be the same in those respects. Yes, I aspire to be like Dianne in respect to her amazing acceptance and willingness to embrace the new and unknown, the creative and spiritual, the internal purpose of self and outward contribution to others.
You will read the thoughtful responses Dianne has give to the questions I posed to her below. It is my wish for you, as a reader, to hear the unspoken, and to feel the curves and straight-aways, hills and valleys of not only Dianne’s journey, but of your own. Put your walking shoes on!
“Ocean(egg)raphy” by Dianne Sonnenberg - 600 square foot sculptural mosaic installation. Two 6’ eggs on boomerang shaped bases grace a ranch setting outside Austin, Texas. Winner of the 2010 Mosaic Arts International Best Architectural Mosaic award.
LMA: How did you get started in mosaics?
Dianne: It’s a very interesting story...I had a vision!! I quit my job in Customer Support at Dell Computer when my daughter was born, so I could be a stay-at-home mom. When both of my kids were in elementary school (9 years later!), I wanted to go back to work. While figuring out what I wanted to do, (other than go back to the tech world) I woke up one morning with the idea that I “wanted to learn mosaics”. It was such an unusual thing, as I really didn’t know anything much at all about mosaics. So...I read some books, took a class, and serendipitously found my passion!
LMA: What was it about mosaics that held your interest? Why mosaics?
Dianne: Per the story above, I feel that I was drawn to mosaics, and it has continued to hold my attention and interest for over 15 years now. I find the process is meditative and engaging, and the end results never cease to amaze me. I love the beauty that can be created with glass, stone, andamento, and some thoughtful design work. I was so surprised that my first mosaics turned out well, and that sparked my interest in continuing to learn and grow and try new projects and techniques. I find that I continue to learn and grow, and expect that to always continue. There is always the potential for something new, unique, or more beautiful.
“Embrace” 8” by Dianne Sonnenberg - sculptural mosaic. Smalti, granite, semiprecious stone, 24K gold, and an illuminated glass sphere create this very personal piece exploring the preciousness and fragility of an embrace.
LMA: Can you share with readers how you have seen your work develop over the course of your journey in mosaic art?
Dianne: I’ve been very lucky to have had the opportunity to participate in some high-profile charitable mosaics early on in my career (GuitarTown, CowParade and Longhorn Stampede), which helped me to become recognized as a large-scale mosaic artist. I enjoy working on these types of mosaics, and this has led to a series of commission opportunities, which continue to this day. I have found that I enjoy working with clients to realize their artistic mosaic visions, and each project is so very unique and different and nearly always infuriatingly challenging! I often find myself saying “what was I thinking!?!?” when trying to puzzle out a particularly difficult installation challenge. Another part of who I am as an artist is all about the art that I create because of the voice within me that speaks. I have observed with great interest as my own voice emerges, grows and changes. A few years ago, I began a journey of recognition of who I am as an artist that has completely changed and directed my course irrevocably. I was adopted as a baby, and grew up apart from my biological family. I have always known that I was half Native American, but never really had the opportunity to fully realize what that meant to me, and what it meant about who I was. I am so fortunate to have recently found my biological family. Along with my parents, my half-brother, and extended family, I have also found my community, and so much more of my identity. I cherish this opportunity and find that am recognizing the Indigenous artist that has always been a part of who I am. This voice is still beginning to emerge, and I am cherishing every single moment of the discovery! After having spent much of my life truly NOT knowing who I was, this shift has been incredibly powerful and emotional.
“Striking Texas Gold” by Dianne Sonnenberg - 10’ mosaic guitar created for GuitarTown Austin, a public art exhibit and charity auction. This mosaic guitar, created from stained glass, mirror, tempered glass and tile, raised $55,000 for Texas charities.
The Dixie Chicks (pictured) were my celebrity sponsors!
Photo: Dustin Downing
LMA: I know you teach different classes, which is your favorite to teach? Why?
Dianne: I do teach a variety of classes, from beginner courses in Austin, to project-based courses all across North America. I love teaching my Mosaic Mandala Design course. It sprung from my love of creating mandalas, and my fascination with Sacred Geometry and symmetrical design. I created a course that really gives participants an education that they can use in their own future design work, while creating a personal, original design for the mosaic mandalas we create in the course. It’s a very labor intensive course to prepare for and teach, but the benefits of seeing the participants learn and grow is SO worth it! I have begun teaching another class I am very excited about too. It’s called Concept to Completion: Exploring the Creative Process. It’s all about finding your own voice, creating work that speaks to who you are as an artist, and moving beyond the blocks and challenges that sometimes keep us stuck. I’ve just begun to offer this course, but the results and reactions so far have been spectacular.
“Tex, the BCS Championship Longhorn” by Dianne Sonnenberg was created for the Texas Stampede for Children, a public art/auction event sponsored by Matthew McConaughey, Jack Ingram and Mack Brown to raise money for children’s charities. The life-sized longhorn featured beveled mirror and water glass mirror to represent the Waterford Crystal Trophy won by the Texas Longhorn football team at the Rose Bowl Championship. This mosaic raised a staggering $250,000 for charity, the most ever for an event of this kind.
“Gilded Lily” by Dianne Sonenberg was created for CowParade Austin, a public art exhibit and charitable auction. She is life sized, and features metallic paint accented with mosaic blankets and embellishments. Stained glass, glass tile and nuggets, millefiori, fused glass, and Spectralock Dazzle grout.
LMA: Which do you think benefits the new mosaic artist the most? And someone more skilled?
Dianne: For beginners, I encourage them to just jump in and enjoy the process. Trying to let go of the fear of learning something new can be extremely rewarding. For more experienced artists, I feel that it is important to never stop learning. I continue to take classes and workshops, and learn from others whenever I can. I think that this is very important for our growth as artists.
LMA: What would you like to learn/add to your mosaics experience?
Dianne: I have become very interested in 3D mosaics and sculpture. I have been practicing and learning as much as possible lately to explore this in more depth.
“The Same Sun” by Dianne Sonnenberg - 16” mosaic mandala. Stained glass, glass tile, beads. Dichroic glass, murrini, granite, 24K Gold Tile. For my brother, who reminds me that no matter how far apart we are, when we look up into the sky, we see the same moon and the same sun.
Light Swirls: 20” by Dianne Sonnenberg - mosaic mandala. Ammonite, stained glass, glass tile, mirror, beads, 24K gold tile, and Spectralock Dazzle Grout. Designed and created to express the awe I felt after being in the presence of Tibetan Monks creating a sand mandala.
LMA: Where do you see yourself in 5-10 years with mosaics?
Dianne: In 5-10 years, I see my voice as an artist more fully established. My work is currently in flux as I recognize and identify with my indigenous heritage and reconnect with my culture and my community. I see a trajectory which will hopefully lead to some strong and powerful new works of art.
“Putting Together the Pieces” Wearable mosaic bra created for Art Bra Austin, a charity live-auction runway show. Raises money for the Breast Cancer Resource Center of Central Texas. 24K gold tile, fused glass, dichroic glass, mirror, glass tile and fabric trim on a fully wearable corset.
LMA: Do you support any charitable causes? Which ones and why?
Dianne: I have supported many charitable causes over the years, including GuitarTown, CowParade, and auctions/community projects with my children’s schools/extracurricular activities, and other worthy community organizations. The cause that I support consistently is Art Bra Austin! This is my 8th year supporting this organization that raises funds for the Breast Cancer Resource Center of Central Texas. As a breast cancer survivor myself, I have received services from them while I was in treatment, and am very happy to help give back. My friend, fellow mosaic artist and breast cancer survivor Monica Meadows and I work together each year to create a beautiful, wearable mosaic bra. The bras are worn by models who are also survivors in a fabulous over-the-top live auction runway show! Our bras have consistently raised thousands of dollars for this very worthy cause. ArtBraAustin.bcrc.org.
“Apollo’s Stallions” by Dianne Sonnenberg - 6x4’ exterior mosaic created for an Arabian horse rancher. About 150 different muted shades of smalti and gold. Based on a portrait created by Emilie Touraine in 1964, a dear friend of the family.
LMA: What is one of your favorite quotes or sayings?
Dianne: If you don’t like a part of your mosaic work in process, ask yourself: is it going to bother you every time you look at it, or can you live with it? If it’s going to bother you, you’re going to HAVE to tear it out and redo it!
LMA: If you could give readers one single piece of advice, what would it be?
Dianne: KNOW that you are creative and do whatever it takes to find the time and energy to nourish that creative part of yourself. It will feed your soul in so many ways!
“Destino: All is Connected” by Dianne Sonnenberg - Sculptural mosaic created for the Clauiano Mosaic Symposium in Clauiano, Italy, under the direction of Maestro Giulio Menossi. Our concept was alchemy, and we were tasked with including wine barrel parts donated by our vineyard/winery sponsors. My mosaic features smalti, stone, 24K gold, and materials from my indigenous heritage, including porcupine quills, trade beads and arrowheads Stone from Canada, Texas, Italy, and the vineyard itself represented the concept that we are all connected.
While I usually include the questions asked of the artist being featured, this month, as you will see, has taken a different turn. I am going to be sharing what this month’s featured artist shared in her own words, as it has a wonderful “andamento” and I did not want to hinder her story with the usual format.
It was years ago when I first met Terri Pulley through the SAMA, (Society of American Mosaic Artists) convention in Lexington, KY. Terri organized and hung, (among many other things), the art works for MAI (Mosaic Arts International), a show that coincides with the SAMA conference. I had a piece accepted to the MAI show, and was living only a few hours from the venue, and decided to personally deliver my work. This decision would be one that would change my life.
Life’s journey has been compared to a tapestry, weaving moments together that become the fabric of our lives. It has also been likened to a mosaic; the pieces, when put together, form a larger picture. Terri may be just a thread in my tapestry, or one tessera in my life mosaic, but she is a big one! She not only has completed a section of my life’s tapestry, but continues to run through it and influence the pattern being woven. The truly wonderful thing about this is that I know she has been and continues to be, the same for so many others, not only in the mosaic art world, but in the world as a whole.
Meditation by Terri Pulley
Terri:
Mosaics are all about the tesserae and adamento that create an image. In reflection, my life is ever growing mosaic of reinventions of myself.
I remember as a child the immense possibilities of life, so many choices, avenues and adventures to experience and I wanted to do everything! The truest part of me is expressing my intuition through art. Drawing and painting has always been my touchstone.
Traveling this life’s road has presented many doors along the way and I have always stepped through them exploring different sides of my creative personality. I have been a Los Angeles based Screen Actors Guild Actor in Television and Film, a Theatre actress in LA; I was a Casting Director, owning my own agency, casting talent for print, film and television; A film, television and broadcast concert producer for Television, Film, rock, pop, and country music videos; the Creative Manager for two major Nashville Country Music Record Labels, I owned my own film, television production company; I was the Managing Editor of a Music magazine. I am a Music Publisher, one of my songs was featured in the movie “Sweet Home Alabama”, and the song is “Mine All Mine”, recorded by Shedaisy. All these doors were creative bliss, but sadly my personal art slid into the background.
Foucault Pendulum by Terri Pulley
In the 1990’s, I was living and working in Nashville and needed a creative weekend away from all the craziness of celebrities and their entourage. I found out about a workshop by Sherrie Warner-Hunter, not far from Nashville, in Bell Buckle, TN. I had inherited a lot of stain glass from my Father, but I didn’t enjoy the rigidness of the process. I wanted something with a creative flow….hence my introduction to the world of Mosaics. I enjoy piecing shapes together, puzzles and quilting so mosaics felt a natural Segway in my art.
Moving to Atlanta, GA, I retired from the entertainment world, and focused on sculptural mosaics and actively pursued architectural mosaic commissions. Moving back to Kentucky to care for ailing parents, I have completed several architectural commissions, and served as the Gateway Regional Arts Center Art Chair. Having a background as a producer, mounting monthly art exhibitions was a natural for me. These exhibitions showcased local, regional, National and International artists in all genres of art. I also incorporated two Mosaic Exhibitions, “Bits and Pieces”, an International call and co-produced Emma Biggs’ Pattern Now XIV, with Vicki Hanson-Burkhart. After leaving the Arts center, I produced two Mosaic Exhibitions in Lexington, KY, “Characters in a Book”, 2016, and “Art in Pieces”, in 2017. The Lexington Arts Center has again invited me to curate a Mosaic Exhibition in 2020.
Currently I am working on a solo exhibition for November-December in Lexington, based on Lewis Carroll’s “Alice through the Looking Glass”.
Mosaics have been a large part of my life for the past twenty years. My crowning commission was to produce the 144 square foot stained glass mosaic floor for Lexington Library’s Foucault Pendulum. I worked on it for a year and finished installation in November 2015. Visitors come from across the US to visit and they even have frequent International visitors.
Recognition of Fine Art Mosaics in the United States is growing and I can only hope to walk into State and National Art Museums and see American Mosaics on permanent display.
My advice to mosaic artists is actually one of my favorite quotes from Sylvia Plath, “The worst enemy to creativity is self-doubt”. Never doubt your creative intuition, listen to all prompts and feelings and express this through art.
Life is adapting to constant change. For the past two years I have been studying and obtaining certifications in Life Coaching, NLP, Hypnotherapy and Tarot. Another door has opened for me and I will soon launch a new business and website, Lone Talisman Tarot Life Coaching. I will offer email readings, podcasts and Life Coaching resources. My new focus will be this new business and my relaxation/alone time will be in my art studio. I am no longer pursuing commissions but prefer to create my own intuitive artworks, in painting, drawing and mosaics. I have lived with Scleroderma for the past thirty years and it is now taking a toll on my hands. Painting and drawing are kinder on the digits and will be my focus. A few of the paintings and drawings might become mosaics. I have a studio stuffed with stained glass and smalti I need to use up!!!! The profits from Lone Talisman Tarot Life Coaching will flow to the National Scleroderma Foundation, to help find a cure for this auto-immune disorder. I have an Amazon Smile account that also contributes to this organization. www.scleroderma.org
You can view my artworks and commissions at lonetalismanarts.net, Lone Talisman Eclectic Artistry on Facebook and back issues of SAMA’s e magazine, Groutline. My new website, Lonetalismantarotlifecoaching.net will debut in the Fall. My email is already set up terri@lonetalismantarot.com.
Putting creative thoughts and emotions into visual images is not always the easiest thing to do, even for artists. Now try and make those visions come into being with such rigid materials as a mosaic artist uses and…well…Let’s just say it is even that much harder. (No pun intended!) Cathy O’Connor, however, has managed to find a way to transform everyday found objects and glass into whimsical visual art that keeps the viewer engaged and entertained.
When Cathy and I spoke on the phone, we briefly touched on her background in the fashion industry, advertising, and design, and how the influence of our past experiences can be felt in what we create today. All the moments we have lived and challenges we have encountered during our lifetime, in essence, create the creator, which is us.
We also discussed the hurdle, so many artists face, of self-promotion. When considering how personal what we create is for many of us, it is no wonder self-promotion can be so difficult. Not to mention it can also be considered the “business end” of being an artist, and I can’t really think of too many “business ends” that are fun to deal with! Add social media to the mix and maintaining a website, art shows and exhibitions, business cards, flyers, answering email inquiries, photographing completed work, etc., etc., etc. Quickly we can see how many creatives can become overwhelmed or discouraged in their attempts at making their art full-time endeavors.
Now, let’s circle back to our experiences creating us…Some would view this as saying we are victims of circumstance. Quite the contrary! Once we understand that the choices we have made in our collective past have shaped us into what we have become, we can take it a step further and be empowered by the fact that we do have choices as to what we learn and invite into our lives today. Want to be a better self promoter? Learn about it. Anything we want to be more knowledgeable about, we can learn more about. Anything we want to be better at, will take action, most likely in the form of practice, practice, and more practice.
Of course, there are many things in life that are beyond our control. Like almost everything but the decisions we make. We have a saying around our house… “The choices we make today will dictate the lives we lead tomorrow.” The choices we have made in our pasts, in the given circumstances, have created who we are today. By being honest in self-appraisal today, we can be active in the shaping of the person we will become in the future, one moment, one decision, one choice at a time. Sometimes it is choosing to be open to the opportunities which present themselves, and sometimes it is creating those opportunities.
Cathy shares some of the decisions she has made, as well as what lead her to making those choices in her creative journey, below. With each work of art she has created, she has made choices; subject matter, size, color, materials, cuts, andamento, etc. And with each creation and each choice, she has “practiced” her art. Hopefully you find opportunity to reflect on what has gotten you to where you are today, and what you are willing to do in order to achieve being who you would like to be tomorrow. Most importantly, I wish you a wonderful journey!
LMA: How long have you been creating mosaics and how did you get started in mosaics?
Cathy:I have been creating mosaics for about 6 years, starting in the glass process with stained glass pieces. I could never get the soldering right, felt there was no control while working on it. Mosaics gives you greater control, so you can use the tiniest pieces of glass, thus eliminating a lot of waste that you have with stained glass. I have recently expanded the mosaics into figurines, combining them both, creating picassiette pieces. This gives the work added dimension as well as a touch of whimsy.
LMA: What is your favorite part of the mosaic process?
Cathy: After I create the design, I enjoy the glass cutting and fitting process. It is so therapeutic to just be concentrating on shapes and colors. The time in my studio really flies by.
LMA: Do you have a favorite subject matter?
Cathy: I love creating mosaics with people involved. Big faces looking right at you, challenging the viewer to learn their story. I always begin with their eyes. Once they are looking right at me, I bond with the piece. It may sound strange, but it’s like we are working on it together.
LMA: Who would you say is your biggest influence in your creations?
Cathy: I do love Frida Kahlo. She was a remarkable person being able to create so much work while living through so much pain. I’m influenced by my surroundings as well. Even taking a break at my favorite local coffee shop, I can absorb much information, seeing shapes, layers and colors.
LMA: What is your least favorite thing about mosaics and why?
Cathy: The learning process: meaning what is the best substrate for glass. I went through a series of pieces cracking because the wood warped. That was a tough learning process, but necessary because I am very aware now of using the proper base.
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV(what shows/genera/channel)? Silence? Pod cast?
Cathy: I listen to Pandora while working. Some days it’s Motown, other days it’s the Annie Lennox channel or if I really want to “move” while I work, it’s the Bee Gees channel.
LMA: If you could give readers one single piece of advice, what would it be?
Cathy: Live your passion. Make time for yourself to do what you want to do.
ORLANDO by Cathy O'Connor
Sometimes you meet another mosaic artist and while chatting you realize you have said, “I totally get that!”, five times in the first few minutes of your conversation. That is exactly how I felt when speaking with Cindy White.
Cindy has a wonderfully unique situation where everyone she lives with is creatively inclined, if not an out right professional artists. She lives in an environment which I have had many artists describe as, “an artistic utopia”. Jealous? Yeah, me too! Not to mention she has an entire attic of an old farm house as her studio. (My dream space!)
This got me to thinking and asking… “How cool is it to have so much creativity swirling around you? I love the energy and inspiration I get from working and spending time with other creatives. They add so much to my creative energy and enthusiasm…but what do I bring to theirs?” I work from a home studio, and no longer find myself on Facebook or other social media nearly as much as I used to be, which was not a great deal to begin with. Cindy admits too that she is somewhat reclusive when in her creative process, and we shared that with each other . We enjoy our time alone while creating but need that human contact as well.
Cindy is following her heart in her journey with mosaics and in speaking with her, the happiness and absolute peace she finds in what she does was another one of those, “I totally get that” moments. I could literally feel the energy through the phone lines, and knew there was a reason, beyond an interview, that I was speaking with her at that moment. I needed my bucket filled!
I feel that my creativity is held in a leaky bucket. If I do not fill the bucket, it eventually runs out. I can get it filled by reading, surfing the internet, window shopping, from those I surround myself with, nature, and so many other ways…but it is staring with other artists like Cindy, that I find the most fun. It is also when I am working (or playing), with other artists that I have the opportunity to share my creative journey, and hopefully bring something, even if a simple seed of an idea, to their creative journey.
Enjoy Cindy sharing parts of her journey in mosaics below. And Cindy, thank you for adding inspiration and motivation to my creative journey and filling my creative bucket!
Bohemian Sky by Cindy White
LMA: How and when did you get started in mosaics?
Cindy: I became interested in mosaics when I broke a beloved plate from my sweet Grandmother’s collection handed down to me after she passed away. It was the very popular pattern Blue Willow and the year was 2005. I cried when it broke and thought as I was sweeping it up, there should be something I can do to use this in some way. I searched the internet at the library to find something to do with this broken plate and discovered an artist’s website on mosaics just by typing in the search engine: “what to do with a broken plate”. Seeing a way to make something else from the bits and pieces made my heart sing! Quickly I went to the craft section of the library to get a book on mosaics, so I could learn the basics. It wasn’t long before I had made a few things with that plate, looking for more things to use to create art. I was instantly hooked on creating mosaics!
Wooden Trivet by Cindy White
LMA: Share your creative process with our readers…Where do you start?
Cindy: Almost always I’ll “see” color combinations in my head just before I wake up in the morning. Often, I’ll study a photograph and can visualize it in mosaic form. Sometimes I’ll look at the shape of a bottle and know how to make it into something else entirely and just as useful as the bottle was, it can be an incense holder or put a candle in it or a flower. And still there are times when I’m given the gift from the mosaic muse to see broken things, such as a coffeemaker and know it will become a mosaic candle holder.
Coffee Maker by Cindy White
LMA: How does the work evolve? How do you know you are done?
Cindy: I usually allow the mosaic muse to do the work and almost always see it in my head one way perhaps slowly evolving into something else. But the creative process is tricky and fighting with a thought or idea that’s not working is counterproductive. Stepping out of my mind and rigid thoughts and allowing my hands to just glide from one piece of tess to another is the way I create. Very Zen-like. I almost always listen to music when I work. That can be anything from good old rock and roll to meditative flutes. Sometimes the entire idea is formed before I start, sometimes it starts out as a group of stained glass scraps in specific colors or random colors and odds and ends and it becomes a work of art. Honestly, I don’t always know when I’m finished with a piece. Most times if it’s an abstract, I just keep going until every spot is filled up with something. I’d suppose when I run out of space on what I’m doing … I’m done! :) And it all comes together for me when the piece is grouted. I LOVE grout. It pulls all the fractured pieces together in a way nothing else does (in my opinion). And it’s not likely that I’ll ever stop using grout. It is part of my creative process and something I really do enjoy doing.
Peace Sign by Cindy White
LMA: Where do you see yourself in the future with mosaics?
Cindy: I don’t really know. I’m open to anything that comes along. I’m happy where I am right now and would like that to continue. Lots of good vibes around me right now. A very good thing! But something new or different is welcome in my life as well. I’m open for anything!
LMA: How do you continue to be informed regarding the “mosaic world”?
Cindy: I use the internet every single day. I visit my tribe of friends I connect with but have yet to meet on Facebook and Instagram and see many mosaics in this way. I get newsletters from a few favorites.
LMA: Who do you feel has influenced your work the most? How so?
Cindy: In the art community, one of the first people that I made a soul-connection with was Gemini Moon (Jeanine Molnar) who conveyed a style I knew I’d never equal to but would try to emulate as best as I could. My own style came through eventually, but my favorites pieces of art from my very early years were mostly due to being inspired by Jeanine. She’s got the retro-midcentury modern-bohemian-hippie vibe I absolutely adore. Many of my pieces now seem to resonate a mod vibe of their own. I like it!
LMA: Do you support any charitable causes? Which ones and why?
Cindy: Over the years when asked, I will donate a piece of art to a charity event or organization trying to raise awareness and funds of some sort. Recently I was asked to donate a mosaic heart to Diversity Mural in Orlando. Last year, I donated a mosaic candle holder for a friend and co-worker of my daughter who runs Britny’s Beautiful Butterflies an Out of the Darkness Community Walk American Foundation for Suicide Prevention. Much of what I give depends on what I see floating around on Facebook. The links for these are through Facebook.
Who doesn’t love a Cinderella story? A story of coming into one’s own, a story of transformation and dreams come true? A Cinderella story is one that never gets old! Debra Mager, of Cinderella Mosaics, shares her story of finding her calling in creating mosaic art, and I believe her calling to teach and share mosaic art with others.
I had a wonderful chat with Debra regarding the transition from the so called corporate world, to making mosaics a full time business reality. I believe it is something many mosaic artists dream of doing, and Debra is making happen. Her love and passion for mosaics, as well as her gratitude for a life changing encounter, is motivating her to make the changes necessary to become a full time creator, educator, and supporter of the mosaic arts.
There is a great deal that Debra shares in the following interview, that I know many of us can relate to, and have experiences ourselves. Our destinations may not all be the same on our mosaic journeys, but I do believe we travel a similar path when we are new to mosaics. To have other artists share their journeys is one of the greatest gifts I think they can give another artist. There is so very much to learn not only in the art forms techniques, but in the intangible. To share a passion, to build the camaraderie, to encourage another artist to seek their passion and not give up…these are truly gifts so freely given in our small enclave of mosaics artists, and Debra gets that!
So enjoy getting to know a little more about Debra and her experience into the world of mosaic art, and reflect on the gifts you have received on your journey. What will you share with a new mosaic artist?
Mother Nature by Debra Mager
Marie Antoinette by Debra Mager
LMA: How did you get started in mosaics?
Debra: I’ve always been attracted to mosaic art, but as a collector and admirer, never a creator. As much as I’ve “soul searched” to see specifically why mosaics most attracted me, I can only say there is something about the puzzling together of random materials into a whole that fascinates me. It wasn’t until my husband and I were visiting an Austin art festival that I took the plunge to try my hand at mosaic art. I encountered an artist who would become my most influential mentor, Suzan Germond. Something about her whimsical, textured work spoke to my creative aesthetic. I never once considered learning to make art until Suzan urged me to take her class. My husband also encouraged me so I gave it a try. Little did I know there was a dormant creativity in me waiting to emerge. Mosaic art was its vehicle out of my heart into the world!
LMA: Which artists, do you feel, have influenced you the most?
Debra: Along with spending many hours with Suzan, I read almost every book published on the subject, practiced endlessly, went to the SAMA convention, visited Isaiah Zagar’s village in Philly and basically went on a tear to learn anything and everything I could. I had a private lesson in Doreen Bell’s home studio, and took classes with Sharra Frank, Laurel Skye, and Susan Wechsler, to name a few. I am so grateful I was able uncover my own talent and style through this intense research and the teachings of these talented women.
Here is My Heart by Debra Mager
LMA: Please share one of your important learning experiences with readers.
Debra: I have learned that one of the most wonderful aspects of mosaics for me is that it is a “forgiving” art form. No matter what your creative inclination or your own perception of your level of talent, mosaics “forgives” anything you might consider a mistake or not good enough. It allows for so many different artistic styles. If you’ve never made art, you can make mosaics. If you are a precision artist, that works. If you are a free-wheeling artist, that works, too. Any creative approach can be beautifully expressed in mosaics. Also, don’t look at what others make and think you should be that kind of artist… it causes you to struggle. Create in the style that comes naturally to you. Mosaic art welcomes your unique expression!
Poppy by Debra Mager
LMA: I noticed that most your mosaics are on 3D substrates. Could you share how and why you choose them?
Debra: I love working in 3D. I love the texture and dimension versus working on a flat surface and I love all the interesting materials I can add on to 3D objects. Even my florals have depth and dimension by incorporating found objects, beads, and jewels. I also love making animals; birds, cats, bears, pigs, whatever. That I can bring a sweet unremarkable animal to life by decorating and embellishing it just thrills me. The minute I give them their eyes, they come to life for me. I say hello and give them a name and then they keep me company until they go to their new homes, where they can bring that same joy to their new owners.
I’m just remembering now that when I was younger I used to give my friends make overs. I would change their hair and make-up and watch the transformation happen. When they saw themselves in the mirror I loved seeing their surprise and joy at their new look. I guess that might have been a glimpse of that urge in me to transform plain into fantastic!
Party Ready Pig by Debra Mager
Queen by Debra Mager
LMA: What are your favorite and least favorite steps in creating mosaics?
Debra: I’m not good with too much tedium. Large expanses of the same color or style can easily bore me. I need more immediate gratification, although I’ve been working on patience. I will go back and forth between projects to keep things lively, which means I have a lot of projects working at once. I admire artists who can work on a project for months or years, especially the ones with shadows and nuances and realism. Realism requires a skill I just don’t have. I prefer whimsy and beauty and bling and color and fun. I believe Clint Eastwood was right when he said, “Know your limitations and just keep going”.
LMA: Tell us about your decision to start teaching mosaics.
Debra: About 6 years ago I found myself suddenly graced with an unexpected talent I never knew I had. I became immersed in a creative endeavor that gave me incredible gratification and happiness. It validated me on so many levels, gave me new confidence, quelled long held insecurities, and enabled me to bring joy to people who saw and purchased what I made. What a blessing! My drive to teach was fueled by my desire to give others like me the same opportunity. I have students all ages from all walks of life, some who’ve never made art before and many with little confidence that they could. I feel through teaching I’m helping them discover their talent and in turn I get to celebrate it with them. There is no better feeling than to see them so happy with what they’ve made. The love I get back from them is my bonus.
McKenzie Bouquet by Debra Mager
Queen by Debra Mager
LMA: If you could give readers one piece of advice, what would it be?
Debra: Here’s a blog post I wrote titled “40,000 Hours”.
I think it is a poignant message for any new artist.
Last night at dinner, one of the gentleman at the table who has a deep passion for music, said he read it takes 40,000 hours of practice to become truly proficient at any instrument. I have not added up the number of hours I’ve spent learning and practicing mosaics but what I can say is that it’s only putting in the hours and practicing like crazy that has made me any good at it. I often hear my students say, “I can’t cut the glass right” or “I’m not good at cutting the glass” after their first or maybe second class. What’s that, about 24 hours?
The wonderful benefit of working in mosaic art is that it doesn’t require precision. Its meant to be seen from a distance so the parts and pieces you’ve puzzled together form the whole beautiful piece. Do we want to improve our skills? Yes. Do we want to become better artists? Yes. But it takes time and practice. If you love mosaics like I do, those 40,000 hours are a gift.
Marlene Mirror by Debra Mager
Neptune’s Muse 10 by Debra Mager
I hope everyone has enjoyed the holidays and is feeling refreshed and eager to start a new year of creating mosaics! Ready or not, 2018 is here and so is another new featured artist for you to enjoy!
Linda Biggers may be known for her eggshell mosaics, but to be completely honest, this is NOT what comes to mind when I hear her name. Hearing her name, evokes the highest quality in use of design elements in my mind. Although “precision” also pops up in my thought when viewing her work, it is the overall intuitive balance and execution that comes to the forefront for me.
I have been asked more than once, what makes “good art, or fine art”? My answer has always been something like this, “An innate sense of, and expert execution of de-sign elements.” Personally, I think it is a gift for most great artists, who intuitively know just what color, shape, flow, patterns, elements, etc. to use when and where during the creative process. However, that is not all there is to it…there are so many other things to be considered. If one was to ask a group of people how to hang a pic-ture on a wall…everyone has an opinion, many different methods of ensuring the levelness, and a multitude of reason and justification on what hanging hardware to use… so many ways and reasons to achieve the same effect, although not all partici-pants would agree whether it actually appears level.
When I look at Linda’s work, I say to myself, “She gets it! She has it!” Linda’s work is more than work; it is fine art. Some of the images included here are ones I have not seen before, and most certainly a joy for me to see now. Although not pictured in this article, some of my absolute favorite pieces of Linda’s are her sugar skulls and skeletons. In fact, I own one of Linda’s skeleton pieces, and I get the same sense of fun every time I look at is as I did seeing it for the first time!
Sun Dancers by Linda Biggers
LMA: How long have you been creating mosaic art?
Linda:I started making mosaics in 1998.
LMA: How did you get started in mosaics?
Linda: I always thought mosaics were one of the most beautiful, fascinating forms of art. During a period of my life where I was dabbling with different forms of art, drawing, painting, and crafting, I decided I wanted to try mosaic art. But I had no idea where to start, had no idea where to find materials and what to do with them once I had them! (this was before I had internet access). One day, while I was baking, a broken eggshell on the counter gave me an idea. After much experimentation, I started making eggshell mosaics. As my experience grew, (and I gained internet access), I found some wonderful mosaic groups and the members of these groups were a wealth of information, from them I learned so much! I then started working with glass and beads and more.
Morning Breezes by Linda Biggers
Sunshine by Linda Biggers
LMA: I know you do many varieties of mosaics…which is your favorite types of mate-rials to work in?
Linda: Of course, I love working with eggshell, but I do like to mix it up. I really like to work with stained glass and beads. I love mixed media
LMA: Have you seen the popularity of eggshell mosaics increase since you first began creating them?
Linda: I’m not sure if the popularity of eggshell mosaics has increased or that I am just more aware of it. Some of my students have continued to work with eggshell and have created some wonderful pieces. Through the internet, I have found a few eggshell mosaic artists that do amazing work. But mostly I see eggshell mosaic done more as a craft, rather than fine art.
Killer by Linda Biggers
LMA: What do you find to be the most challenging aspect of mosaics?
Linda: Not having time or space to work is a big challenge, but aside from that, be-coming a full time mosaic artist is one of my goals. Right now, balancing my mosaic work and a full time job is challenging. Deciding when or if I can support a studio and make a reasonable income on mosaic art alone is my biggest challenge. As of now, I am not comfortable with leaving my job.
Autumn Birches by Linda Biggers
The Loon by Linda Biggers
LMA: How would you describe your style of artwork?
Linda: I think my mosaics, especially my eggshell pieces have a painterly feel. People have described my work as impressionistic. When I think of my work as a whole, I think eclectic, especially with my mixed media pieces as I use so many types of tessarea; glass, beads, eggshell, slate, also polymer clay. My individual pieces differ so much, so as a result, I don’t have a cohesive body of work, so rather than say that, I’d preferably say my art is eclectic!
Anna May by Linda Biggers
LMA: Do you support any charitable causes? Which ones and why? Linda: I regularly, donate to the Doctors Without Boarders Auction, coordinated by Lin Schorr. Here's which you can find the past auction artwork. linschorr.com
My sister-in-law is a physician and goes to Peru with a similar program. I’ve heard some amazing stories about the people there and what the doctors are doing to help them.
This is the link to the Doctors Without Borders website - www.doctorswithoutborders.org. I also donate to causes locally, for example, fundraisers for community member who are in need medically or have suffered a tragedy.
Red by Linda Biggers
Cordelia by Linda Biggers
Murder by Linda Biggers
LMA: What is one of your favorite quotes or sayings, and why?
Linda:
“It’s not whether you get knocked down, it’s whether you get up”-Vince Lom-bardi
I’ve always believed hard work and dedication is the way to get what you want in life. Just because things get difficult, doesn’t mean you should quit. LMA: If you could give readers one single piece of advice, what would it be? Linda: Don’t be afraid to try new things, keep an open mind and learn all you can.
Through the Mist by Linda Biggers
The Monarch by Linda Biggers
The Monarchs by Linda Biggers
LMA: Tell us about your single greatest mosaic moment:
Linda: I have recently been working with elementary schools on grant projects, cre-ating large public mosaic pieces that are displayed in their school. I found the expe-riences wonderful for both the students and myself. I wanted to bring a mosaic pro-ject to the school where I work, so, along with a coworker, I wrote a grant to do a project with our fifth grade class at our school. The support that I got from admin-istration and public was amazing; everyone was on board! When I got the news that my grant was approved, I was thrilled! Needless to say this project took over my life for three months! I worked with about 140 fifth grade students on a mosaic that rep-resented the six pillars of character, responsibility, respect, caring, trustworthiness, citizenship and fairness. I had 6 fifth grade classes and each class took on one character pillar. The class as whole voted on a theme, a tree, and the character traits would be represented within the tree. The kids were amazing and they truly loved the project! This 5’ x 7’ mosaic is on display permanently at the school. We had a grand unveiling for the parents and community members. The kids were so proud of their accomplishment! This project really touched these kids in several ways. There will be some upcoming mosaic artists in the future! For many of the students, this was a rare opportunity to be a part of something important and beautiful, it was a way for them to connect with their classmates and community.
Tree of Character by Linda Biggers
The greatest part of writing the Featured Artist column for Luna Mosaic Arts are the artists themselves. This month I had the opportunity to chat with Cathleen Newsham. Passionate about mosaics, about her art work, about educating other artists, as well as growing the popularity of mosaics, Cathleen was easy to chat with!
In speaking with Cathleen, she mentioned that, “…about two years ago I helped start the New England Mosaic Society, which is a regional mosaic organization. We began with 9 members and now we have grown to over 100. I built the website and managed it for the first two years, and have recently taken on the position of Co-chairing the Program & Education Committee. Two of our members worked very hard to get the SAMA conference to Boston, and we were successful!” As most of you know, the SAMA conference is right around the corner, the opportunity to interview Cathleen seemed kismet.
www.newenglandmosaicsociety.com
Our conversation centered around the great responsibility we as mosaic artists have to be the best stewards of the art form, that we can be. For this reason, Cathleen focused her career in mosaic art, on educating fellow artists. Cathleen is one of the few who makes her living in the mosaic field. She expressed her passion in educating fellow artists in the proper techniques and processes for creating public mosaics that are going to last. Her goal is to insure the reputation of mosaic art as being a viable art form and one of the preferred options for public art installations. She also expressed that as much as she enjoys teaching, she also loves to learn from her contemporaries.
Many readers will undoubtedly be attending the Society of American Mosaic Artist conference in Boston in March, 2018. (Registration is open and classes being filled quickly! - www.americanmosaics.org) I hope to meet many of you there, and if you get the opportunity to spend a few minutes chatting with Cathleen, I hope you catch her contagious enthusiasm for all aspects of mosaics!
LMA: Tell us a little about your artistic background:
Cathleen: I moved quite a bit growing up so I learned to entertain myself for hours on end with nothing but a pencil and paper. My family ordered most of our clothing from the Sears catalog, (remember Toughskin jeans?), and I didn’t like the clothes very much, so I began sketching my own elaborate catalogs filled with the dresses and shoes I hoped to one day wear. I learned how sew when I was about 10 and began making my own clothes, including a suit made of bright yellow corduroy! No kidding. It took me almost six months because I had to rework the pattern (which was an adult size), but it was impeccably sewn and I was very proud of it. It was pretty hideous, now that I think about it, but hey it was the 70’s and corduroy was in style! I really wanted to go into fashion design, but that did not fly with my parents, so after taking some drafting classes in my senior year of high school, I decided on Graphic Design as a major with a minor in Fine Art. I graduated with a BFA in 1983 and began working as an art therapist at the largest state mental hospital in Louisiana. This was prior to Prozac and needless to say, it was like the dark ages and pretty scary for a recent college grad. (I could tell you many stories about my time there, but I’m saving those for a book.) After about a year of struggling to teach art to patients who were almost comatose from the medications they were receiving, I took a string of graphic design jobs before landing a position as an animator for a video production company. I really liked it, so moved to Washington D.C. for a better job, and eventually to New York City where I was fortunate enough to work on branding campaigns for several of the newly created cable networks. A&E, The History Channel, The Food Network, ESPN and HBO were all building their brands and I was in the right place at the right time!
Ice Cube Sink by Cathleen Newsham
Autumn Crystals Mosaic Sink by Cathleen Newsham
LMA: How long have you been creating mosaics?
Cathleen: I started making mosaics in 1999 while renovating my house in Westchester county, N.Y. I wanted a glass sink and while on business in Seattle went to Dale Chuilly’s studio to buy one, but after looking at the price tag I decided if I could make a yellow corduroy suit I could make a glass sink! A friend had given me some stained glass scraps a few months earlier so I began experimenting with various glass bowls and adhesives until I created a sink that was functional and would hold water, then played around with lighting it from underneath. I was happy with the results, and after it was installed I went back to my usual artistic hobbies of photography, jewelry making and collage, until a neighbor came over for dinner. She saw the sink and wanted me to make one for her. Then another neighbor wanted one, then another. And so my mosaic business began. I think it was 2000 when I took a workshop in Philadelphia with Isaiah Zagar, then I started going to the SAMA conferences and taking classes with Laurel True, Ilana Shafir, Sherri Warner Hunter, Guilo Menossi and Bonnie Fitzgerald among others.
Entryway Mosaic, Mount Kisco, N.Y. by Cathleen Newsham
LMA: What are some of your favorite materials and what do like about them?
Cathleen: I started with glass and still use it quite a bit, and I use smalti for most of my architectural projects, but my real love is pique assiette. It’s so much fun to collect everything and I really like that you can tell a story about a family, a place or an idea. I am always trying to find large amounts of unusual materials that can be substituted for tile. I’ve made floor mosaics out of coins from all over the world and once used old house and car keys for an entryway floor, making sure they were all the same height to keep it safe for walking.
LMA: Where do you find inspiration for subject matter?
Cathleen: Everywhere! I love my iPhone because no matter when or where I find inspiration I can photograph it and reference it later. I have a tons of Pinterest boards where I pin my photos, and if a client also uses Pinterest I share the boards so we can have the same visual reference points.
"Jacqueline" Picasso Wall Art by Cathleen Newsham
Detail of "Jacqueline" Picasso Wall Art by Cathleen Newsham
LMA: What is your favorite thing you have created and why?
Cathleen: I had a client who owned a broken Picasso ceramic platter that had been made in the last years of his life at the Madura Pottery factory in France. She wanted somehow salvage the platter and incorporate the pieces into a fine art piece to hang in her living room. Of course I was very intimidated, but Picasso’s genius became so evident while I was working, that I felt he was right there with me telling me what to do, placing each piece and encouraging me. I couldn’t wait to go into the studio and work every day, and the piece only took me a few weeks. We named it “Jacqueline” after his second wife, who worked at the ceramics factory, and it hangs in the family’s dining room.
LMA: What would you like to learn more about in mosaics?
Cathleen: I love learning new techniques and styles so want to take classes with Kelly Knickerbocker, Carol Shelkin, Carole Choucair Oueijan and John Sollinger. I love so many mosaic styles, and can never settle on just one and stick to it. But hey, neither could Picasso!
Enchanted Forest Fireplace by Cathleen Newsham
LMA: What would you like readers to know about and your artwork?
Cathleen: That’s it’s always evolving. And I don’t just make mosaics. I paint, make collages, take photos, make jewelry, knit and crochet and feel that by practicing all these other art and craft forms it helps me stay interested and experimental with my mosaic work. I’m currently working on a mosaic piece that was inspired by an exhibition I saw recently of the Gee’s Bend quilts, which were made by self taught outsider artists with cast-off clothing.
LMA: Do you have any favorite charitable causes?
Cathleen: I support the MS Foundation, www.nationalmssociety.org Get-Involved and The Prospector Theater in Ridgefield Connecticut, which is a non-profit movie theater that creates meaningful jobs for adults with disabilities. I made a pique assiette fireplace mosaic there a few years ago and it’s a truly inspiring place! www.prospectortheater.org
Coney Island Inspired Mosaic by Cathleen Newsham
Coney Island Inspired Mosaic by Cathleen Newsham
LMA: What are your goals and aspirations with your artwork?
Cathleen: I had a walk-in mosaic studio in Ridgefield CT from 2005-2007 and realized how helpful the art form was to people going through and recovering from trauma. I’m currently working on my Master’s degree in Art Therapy, so eventually I would like to teach what I’m learning to other mosaic studios around the world so they can feel confident incorporating trauma recovery programs into their class offerings. I’ve also been shooting footage of mosaic artists in their studios and hope to turn it into a documentary film about the renaissance of the art form. But I need to focus on my day job - creating architectural mosaics!
SOHO Penthouse Marble & Gold Mosaic Floor & Stairs, New York, N.Y. By Cathleen Newsham
LMA: Please share a favorite mosaic experience with us.
Cathleen: Creating the fireplace mosaic at the Prospector Theater was a lot of fun and very gratifying. Using the pique assiette method, we incorporated Special Olympic medals that some of the disabled employees had won, movie reels, figurines, toys, an antique rotary phone, and lots of words that applied to the mission of the theater. I met so many wonderful people and everyone was so encouraging throughout the process, that I was a little sad when we completed it just a few days before the grand opening. I still see movies at the theater all the time and am very proud of that fireplace!
Prospector Theater, Ridgefield, C.T. by Cathleen Newsham
Although I did not have the pleasure of speaking directly with this month’s featured artist, I have found that her work speaks volumes on it’s own. Catherine Van Giap is a mosaic artist, whose work holds a great deal of symbolism, movement, and meaning.
Personally, I see a great deal of religious symbolism in her mosaics, but I also find that her shapes and color choices add more to her work as far as creating an overall mood. One of the questions I posed to Catherine was to name a few of her favorite artists. Influence from two of the artists she named, can be readily felt.
When Catherine named Cleo as one of the artists that she has been influenced by, I could immediately see this in the overall lines of Catherine’s work, and I also sense it in the story telling aspect of Catherine’s images. Symbols can evoke immediate emotion/reaction from the beholder. I feel this when I view Catherine’s mosaics, and hope that you can enjoy the same peacefulness and joy I find myself experiencing.
The second artist’s influence, which is also very apparent to me, is Georgia O’Keeffe’s. The color palettes Catherine chooses to use, remind me very much of O’Keefe’s tonal choices; muted colors with touches of brightness and dark outlines, bold in subject yet simple and symbolic as well. These factors lend themselves to Catherine’s work in a very pleasing manner.
Although I can see the influence of these two prominent artists in Catherine’s work, she still has an artistic voice all her own, which comes from combining the elements she chooses into her own artistic vision. A harmonious and rhythmic movement, soothing yet playful color combinations, and interesting elements all add to the style which is distinctly her own.
I hope you enjoy her work as much as I do!
LMA: How long have you been creating art?
Catherine: 12 years
LMA: How did you get started in mosaics?
Catherine: I previously went to art college and after having my two children I wanted to try something new and get back to doing something creative with a new medium.
LMA: Your work has a bit of a symbolic feel to it, where do you find inspiration
for your imagery?
Catherine: I find inspiration by living near the coast, surrounded by beautiful countryside.
LMA: Do you practice any other art forms on a regular basis
Catherine: Mosaic is my sole art form.
LMA: What is your favorite subject matter?
Catherine: My favourite subject matter is birds and fish.
LMA: Who are your top 3 favorite artists or top 3 most influential artists in your work?
Catherine: Georgia O'Keeffe, Cleo Mussi, and Antoni Gaudi
LMA: Who is your biggest supporter/fan?
Catherine: My mother and daughter.
LMA: Tell us a little about your studio and attach a photo or 2 of your studio space.
Catherine: My studio has my own work bench and various work surfaces for cutting glass with a main table where my students work at, from where I run regular weekly classes which I have been doing so for around 8 years, and wall space for displaying mosaics.
LMA: What is one of your favorite quotes or sayings?
Catherine: “To create ones world in any of the arts takes courage” - Georgia O’Keefe
LMA: What is your favorite art style? What do you like about it?
Catherine: My favourite art style is art nouveau because I like the fluid lines and soft shapes and the use of lots of nature in its imagery.
LMA: Where do you find creative inspiration?
Catherine: I find inspiration by translating objects around me into glass and interpreting that in my own style. I also find inspiration from ceramic pieces such as a vintage plate which I then incorporate into my art using that piece as the focus along with other accent pieces such as dichroic cabochons and millefiori. I love iridescent glass for its depth of colour and also mirror glass for extra shine.
LMA: Where do you see your art leading you in the future?
Catherine: To keep developing my ideas, each piece is bespoke, I rarely repeat a piece so as to keep my work original. I often work on commissions or an individual piece a customer may request.
It seems like yesterday I was attending one of Bonnie Fitzgerald’s classes at Touchstone Center for Crafts in Virginia. It is to this day one of my favorite mosaic memories, as well as a life-changing encounter! Bonnie’s love of mosaic art, her joy of teaching it, and the enthusiasm she brings to her classes could not have been explained, I had to experience it. I am sure many of you who have taken a class of Bonnie’s know exactly what I am talking about.
Inspirational, motivating, and empowering are the top three words I would choose to describe Bonnie. Not just Bonnie herself, but also what she brings to the world of mosaics. Many people speak of the mosaic community being such caring and giving folks, and Bonnie Fitzgerald embodies that sentiment. Bonnie is in constant motion while teaching and sharing her love of the mosaic art form. She does not hoard her knowledge or experience, but excitedly willing to share with her students that they too may learn and love creating mosaics.
I think you will find something special in taking a class from Bonnie. Perhaps a new found technique, a refreshing perspective in approach, or a facet to the business of mosaics will remain with you for the rest of your own mosaic career, whether you are a hobbyist or professional artist. You may think I sound like a big supporter of Bonnie, but I am not… I am more than that…I am a raving fan!
I hope you enjoy getting to know a little more about Bonnie, but even more so, I hope you give yourself the gift of taking one of her classes, because that is where she really shines! Enjoy!
Heavenly Waters by Bonnie Fitzgerald
“Art Icons” Drew Model School, Arlington, VA by Bonnie Fitzgerald
LMA: How did you get started in mosaics?
Bonnie: I attended a liberal arts college in South Florida where I found my way to the ceramic and sculpture studio. The professor I studied with made architectural art, including large-scale mosaics. I was introduced to mosaics during that time. My first commission was while I was still a student.
LMA: Could you share with our readers your history of involvement with mosaics?
Bonnie: I was making mosaics in a vacuum… then the Internet came along. There was a call for volunteers. The SAMA conference was coming to my town, Washington, DC, and they needed help.
To this day, I have friends who I met as a consequence of that volunteer call. I remember walking into the exhibition and seeing all that amazing mosaic art work in one place and my heart skipped a beat. I fell in love. The short story, I went on to become a Board member and have attended more conferences than not. The gifts of SAMA are priceless. I have crossed paths with countless mentors, learned the art and craft of mosaic from some of the greatest artists of the medium, and as a consequence of that first meeting built a business making and teaching mosaics. Saying “yes” to that initial volunteer opportunity changed my life.
Serving as a Board member, my learning of the art form was accelerated. JeanAnn Dabb, a charter SAMA member, enlightened me to the historical context of mosaic. She actually taught mosaics at a university! As the child of factory workers in Philadelphia I had no knowledge of the European tradition of mosaic making, much less did I understand mosaics graced almost every corner of the world in one form or another. In just a few years I met mosaic art icons I admired and I had only read about: Ilana Shafir, Sonia King, George Fishman, Laurel Skye.
I met true lovers of mosaic art, folks who have carried the art form of mosaic to exciting places and shared their knowledge. Bill Buckingham, the creator of Mosaic Art Now magazines introduced me to a book publisher; that singular opportunity, which eventually led to two book deals, altered the direction of my mosaic life.
I teach, I travel and I make what I see as beautiful art. I am filled with gratitude.
Katina’s, Hacienda Mosaico, Puerta Vallarta, Mexico by Bonnie Fitzgerald
LMA: What is your favorite thing about working in the field of mosaics on a day-to-day basis and why?
Bonnie: The Tribe is filled with talented, generous people.
LMA: I know you travel the globe and take others on journeys with you. Where is your favorite place to travel?
Bonnie: I have been blessed with the opportunity to travel extensively and share my love of art. Where ever I was last is my favorite. Every place I have traveled has provided some remarkable and treasured memory. I was just in Ireland and still savor the butter and beer and the beautiful people.
Palmer Park Community Center, Lanham, MD, winner 2017 Mosaic Arts International Site-Specific, Juror’s Choice
Irish Rock People, by Bonnie Fitzgerald
LMA: What are some of your favorite, “Must see” mosaic locations?
Bonnie: The Basilica of the Shrine of the Immaculate Conception in Washington, DC, Park Guell in Barcelona, San Vitale and the Contemporary Mosaic Museum in Ravenna, Italy, The Mosaic House in Chartres, France, Niki de St. Phalle Tarot Garden, Tuscany and Rachel Sager’s “Ruins” in Pennsylvania.
Tres Amigos by Bonnie Fitzgerald
LMA: Tell us about your single greatest mosaic moment:
Bonnie: I taught a mosaic workshop in Charters, France, in a private fabrication studio, an absolute “pinch me moment.” I was leading a tour to France and with my “travelers” we made souvenir mosaics.
Mosaic workshop in France with Bonnie Fitzgerald
LMA: Do you support any charitable causes? Which ones and why?
Bonnie: SAMA, Society of American Mosaic Arts, because mosaics have given me a wonderful life and countless opportunities.
Capitol care and Life with Cancer, because the supported my family during a very difficult time.
Twinless Twins, because they helped a family member weather a devastating loss.
Go Fund Me / Laurel Skye, because Laurel is one of my Rock Stars.
LMA: If you could give readers one single piece of advice, what would it be?
Bonnie: Mosaics take time, do the work and enjoy the journey.
Ocean Trash by Bonnie Fitzgerald
You'd think that I would've met Janis through mosaics, but that's not how we met. We both belonged to the same art group and we were both accepted into their juried art exhibit. She just happened to be dropping off her artwork moments before me. She came walking around the corner as I was taking my artwork out of the box. We've been friends ever since.
Janis has a unique style to her artwork, using any kind of material she gets her hands on. There's no limit to what she will use in a mosaic. Her mosaics can be very bright, cheery and colorful or very dark with a bit of a sinister side. She's never afraid to try something new.
Janis is one of 8 resident artists at Luna Mosaic Arts. You can come to the studio and see her work in person. Maybe you'll be lucky enough to be there when she is working. After learning more about her, you will want to met her.
by Janis Nunez
LMA: How long have you been creating mosaics?
Janis: I started truly creating in the summer of 2009.
LMA: How did you get started in mosaics?
Janis: I used to have a garden store and one day a lady came in with a mosaic topiary. She wanted to leave it on consignment. I thought it belonged to a gallery more than a garden store! So. I didn’t keep the topiary but I managed to ask the lady for a class and that summer she gave me my first piqueassiette class. Right there, I was hooked!
LMA: What is it about mosaics that resonates with you?
Janis: I love the fact that you can transform pieces without value or interest by themselves into a beautiful whole capable of “moving” the viewer. You can transmit ideas or feelings through the harmonious arrangement of textures, color, sizes, materials, etc. creating an impact in your own self and the art you create. Mosaics is very much like life, the every day moments you live crate your whole self, piece by piece, moment by moment.
by Janis Nunez
LMA: Do you practice any other art forms on a regular basis or have a hobby when not making mosaics?
Janis: I used to paint before I was introduced to mosaics. Not long ago I tried painting again and it didn’t work for me anymore. I found myself gluing pieces of glass over the painting. The rewarding feeling I get when making mosaics is impossible to get with any other medium. At least for me!
LMA: Do you have a favorite color palette?
Janis: I love color, warm colors, and most of all, red. Red is my super favorite color! Sometimes I have to force myself into using different colors that are out of my “comfort zone” because I tend to always work around red and a warm palette.
by Janis Nunez
LMA: Who are your top 3 favorite mosaics by someone else?
Janis: “Big Bang” by Beatrice Serre. Because of her use of materials and her ability to translate nature into mosaics.
Big Bang by Beatrice Serre
“Snowfell” by Solly (John Sollinger) I love the use of light glass over dark glass and the effect it gets with light. You can really see the depth of his piece. Almost like a photo of a snow scene.
Snowfell by Solly (John Sollinger)
copia di "Mosca" - Kandinsky ” by Arianna Puntin. Her art is (almost) always so colorful. It doesn’t matter if it’s abstract or more realistic, but her use of color is amazing!
copia di "Mosca" - Kandinsky by Arianna Puntin
LMA: Do you support any charitable causes? Which ones and why?
Janis: I love Mother Nature and always try to do my best to respect and take care of it. I cannot do much by myself so I like to donate to institutions like WWF – World Wide Fund for Nature or WCS – Wildlife Conservation Society.
LMA: What is your least favorite thing about mosaics and why?
Janis: I love everything about mosaics! Maybe the fact that I cannot spend my whole day (and life) making mosaics. For me, they are addicting in a good way; they are relaxing, therapeutic. They fill my mind and soul. I wish I can have more time to make more mosaics!
LMA: Tell us a little about your studio space:
Janis: My studio is like my sanctuary. I can do whatever I like and want when I’m in there. It is filled with colors and Mexican images from the Day of the Dead, my favorite holiday. I have family photos, notes, and every single corner of it is packed with things that I may someday use. Yes, it’s messy, crowded with stuff and dusty, buy I love being there. It’s me!
LMA: Do you listen to music while creating (what type/bands)or do you prefer the TV? Silence? Pod cast? Etc.?
Janis: It is a whole ritual when I start to work. First I light up an incense stick, fill up a bottle with ice cold water and turn on my music. Music has to be loud, so loud that my kids used to close my studio’s door to have some peace and quiet for homework. I like classic rock mostly. I’m an 80’s girl, I like Poison, Scorpions, AC/DC, Black Sabbath, Metallica, Guns n’ Roses, Meat Loaf… many more. But I always work with music. TV? I don’t like TV at all so, NO TV.
by Janis Nunez
by Janis Nunez
LMA: Where do you find creative inspiration?
Janis: I can find inspiration at any moment no matter where I am. Sometimes I like to reflect my life experiences or my feelings. Other times I just want to make something colorful and happy, pleasing to the eye. I love mixed media mosaics and experiment with different materials so, I’m always in the lookout for ideas in every day objects or situations. I carry a mini sketchbook with me and if an idea comes to my mind, I write it down or sketch it with as much details as I can so I can go back to it any other time.
LMA: If you could give readers one single piece of advice, what would it be?
Janis: I would say to never be afraid of experimenting new ways to make your art. We all learn from mistakes, so even if you didn’t accomplish what you were looking for, that experiment taught you something. That result you got from experimenting, will bring you more knowledge than you can imagine for your future art creations. So. never stop trying!
by Janis Nunez
LMA: Tell us about your single greatest mosaic moment.
Janis: Mosaic is so rewarding in many ways that is difficult to choose one specific moment. I loved when I opened the email from Disney announcing my acceptance to the “Festival of the Masters” art show. Or the first time I apply to SAMA and one of my pieces was accepted fort the Kentucky exhibit. Those moments are exciting, but for me, the fact that the people recognizes me as “an artist”, makes me feel so happy and proud of myself that I never felt that way even when I graduated as an engineer!
by Janis Nunez
Last night I spoke on the phone for the first time with Anne Marie Price. We have, like so many others, communicated a bit through Facebook in the past. I have been both fascinated and an admirer of her work for years, and speaking with her was every bit as enjoyable as viewing her mosaics.
To say that I was excited to feature Anne Marie’s work is an understatement, but the true joy was in hearing her speak about her work. I could hear in her voice the passion, commitment and love she has for creating her work. Her approach and intention come through in each and every piece.
While speaking with Anne Marie, she stated that she has an “illustrative” approach to her mosaics. The overall simplicity of the subject, and exactness in her lines are pleasing, but the fact that every time I view them, I notice something different, and this holds my interest. To me, Anne Marie’s mosaics are like “hidden picture” puzzles. Every time I view them, I notice another detail I had not seen before. Whether it is a pattern of an area, a surprising or unexpected angle she has cut a particular piece of tessera, or even the substrate she has chosen for a particular piece, there is always more to be seen and appreciated with every viewing.
One thing Anne Marie is known to me for, is the gifts she leaves for strangers on the beach. With bits of shell and found objects while there, Anne Marie creates spontaneous mosaics in the sand, to be discovered by passers by. Although I cannot say I will be on Huntington Beach any time soon, I still feel grateful to have “stumbled upon” Anne Marie’s mosaics on line.
The images included in this interview are slightly limited. I hope you seek out more of Anne Marie’s work through the links provided, and enjoy the balance of simplicity and complexity she brings to all her works. Her mosaics are truly a gift!
John by Anne Marie Price
LMA: How did you get started in mosaics?
Anne Marie: I always say…in hindsight now…every path and part of who I am..led to my becoming a mosaic artist. Every rock I collected, every church that had stained glass windows that would mesmerize me, every mosaic I came across in a park and HAD to touch. My very first memory I have is being on a family members back in one of those baby backpack things and being on the shores of Lake Michigan…on a rocky beach covered with smooth stones and being absolutely fascinated by all those colorful rocks. That is my first memory. The seed was planted at a very young age. But my journey to discover what I should do with myself in this life began when I was a stay at home mom in 2003 and received my first computer. I always loved stained glass and just started browsing online one day and stumbled across stained glass used in mosaic art. Then I typed in “mosaic” and bam….could not stop looking and thinking “ya…like THAT!” I joined a Yahoo Mosaic Art Chat group and started learning from artists like Sonia King, Robin Brett, Shug Jones and just countless other artists whom I greatly admire to this day. I will be forever grateful they took the time to answer my many questions.
Purpose by Anne Marie Price
LMA: Do you practice any other art forms on a regular basis or have a hobby when not making mosaics?
Anne Marie: I paint on occasion and before mosaic art I loved pointillism. I have always doodled with black ink pen but I always gravitate to mosaic art. It’s my thing. My ‘drug of choice”.
LMA: Who are your top 3 favorite artists or top 3 most influential artists?
Anne Marie: So very hard to choose three but off the top of my head…Georgia O’Keeffe because I absolutely “get” what she saw and how she expressed what she saw and she was a woman I understand on a personal level. Frida Kahlo because I ADORE her raw honesty and her sense of humor and her pushing the boundaries because she could. I adore sassy women who are not afraid to speak their minds. And Henri Matisse who I also felt very connected to why he did what he did in his art. I say these three are artists who I “recognize” something in myself through them. But there are so many, many more. The more I understand myself as an artist…the more I am curious of those who came before me so I am always reading about artists and learning about them.
Le Taureau à Mille Fleurs (The Bull covered with 1,000 flowers.) by Anne Marie Price
LMA: How would you describe your work and what gives it your signature style?
Anne Marie: My work is very personal and almost always connected to what is happening in my life at that moment or WHERE I am physically or mentally at. And sometimes it is just stuff I want you to look at and see in a different way. Sometimes I like to tell stories and sometimes I like to simply show you this bird…or flower…or texture or pattern…and just make ya look at it. I like simple and I like complex and I like to challenge myself and try to marry the two. I think I gravitate towards an Illustrator kind of style. I like creating mosaic art of things you don’t normally see, like a bull with flowers or a thistle. I feel like an “underdog” most days so I like to celebrate “underdog” kinda things in my art. I think my style is very straight forward but with many hidden meanings within a piece for those who chose to look a bit closer.
Untitled by Anne Marie Price
The Dance by Anne Marie Price
LMA: Have you taken any mosaic classes and who were they with?
Anne Marie: Yes. Kim Larson taught me how to work on large scale outdoor mosaic murals. Sonia King taught me the basics of mosaic art, history and business of mosaic art. Mireille Swinnen taught me how to work and appreciate working with smalti. And Carole Choucair Oueijan taught me indirect in her class. I feel extremely fortunate to have such excellent teachers so far. Each one has been so valuable to my journey.
LMA: Do you support any charitable causes? Which ones and why?
Anne Marie: Well I am always helping fellow artists when I am able but I have had the absolute privilege to be a visiting instructor with my Mosaic Mafia family at Piece by Piece in LA, CA. They teach formally homeless humans to create mosaic art that they either sell or work together on large scale mural projects and it is nothing short of amazing to be with them and work with them. Mosaic art is healing and a useful tool to help those (including myself) who need to put things back together in life after trauma or hardships. It is amazing to see these people take charge of their lives through mosaic art and light up while doing it. The artists and full time teachers at Piece by Piece are the most amazing and selfless people I have ever met. I do not know how they do all they do but wow am I glad they exist. The world IS a better place with them here and I am honored to call them friends.
Frida by Anne Marie Price
Mira by Anne Marie Price
LMA: Where do you find creative inspiration?
Anne Marie: Through everything around me. People…nature….details…looking closer at things. Sometimes just the glass itself. Sometimes just a mood. Sometimes a song. Life inspires me. Having a story to tell and having the opportunity to tell it…inspires me. Purpose inspires me. Understanding human behavior….working it out through art…that inspires me. The ocean! The city. Patterns inspire me. I could go on and on all day long. But I won’t. :p
The Libertarian by Anne Marie Price
LMA: If you could give readers one single piece of advice, what would it be?
Anne Marie: The most important thing I have learned so far is this….TRUST YOURSELF. I have a wonderful, no nonsense friend and teacher. I call her my “tough love” teacher because she taught me the most valuable lesson I have learned yet in that she would not answer my “what color should I use” questions. At first this made me frustrated when she would said…”I can’t tell you how to make YOUR art. It’s not my art…it is yours. Figure it out.” And you know what…the more I “figured it out” the more I started to see I could and she was right. I needed to trust my instincts and my voice. Technical questions yes…ask away…but questions relating to color or should I bring this or that into the picture or make this nose longer? No. Experiment. Figure it out. No one can make your art but you and you need to trust that you CAN work it out. And you figure it out by DOING. This is when I started to see “my style” develop. When I stopped asking others how to make my art. Go figure. It is absolutely one of the most important lessons I have learned in my career as an artist. To simply trust yourself.
Beach Art by Anne Marie Price
It always surprises me how similar yet different people are. We all have at least a dozen things we can find in common with someone we just meet, and look forward to the knowledge treasure hunt that still remains to unfold. Speaking with Aly Winningham for the first time truly brought this into focus for me.
The cheerful color palette and great handmade birds and other tesserae in Aly’s work was what first captured my attention. The more I viewed Aly’s mosaics, however, it was the messages being conveyed that held my interest. Very serious, very personal and very global issues were being spoken about, and so my treasure hunt began…
I ask many artists I have interview for Luna Mosaic Arts the same questions. Not because I am lazy, not because I can’t think of anything else, but because I feel it important to see how different individual answers to the same questions can be. There is a certain comfort in reading expected answers, or views that are similar to the ones we hold ourselves, but the thrill of the hunt comes in hearing the unexpected, the vastly different ideas and beliefs that another individual may have formed during their life’s journey.
As I have mentioned in a previous article, it is important to me to remain teachable; the perpetual student. I am a big believer in that we learn something from every person we come in contact with. It is not always something we learn about them or a topic they may be very experienced with that is the lesson, but something they unknowingly teach us about ourselves. Sometimes it is an awakening of past thoughts and feelings, points of view or thought processes, which we have had in the past, that are expounded upon.
The saying “speak softly and carry a big stick” comes to mind when viewing Aly Winningham’s work. In speaking with Aly, I mentioned that I found her to be a bit of a storyteller, similar to Flair Robinson, in her messages and subject matter. Similar? Yes, yet different. Aly’s work, to me is bright, cheerful, happy, and uplifting, baiting you in to spending more time savoring that feeling and opening the mind of the viewer long enough to let the more serious subject matter slip in.
Read Aly’s responses and get to know both her and possibly yourself a little bit better… happy hunting!
Life on the Farm by Aly Winningham
LMA: How and when did you get started in mosaics?
Aly: 1994, I was apprenticing with a blacksmith in his shop, which he shared with his wife. She was also an artist, a glass artist who made giant stained-glass windows. One day we were all there and she was about to throw away several pounds a scrap glass. I knew absolutely nothing about glass and yet I couldn’t let her throw it way, it was just too beautiful. I took it home with me and found myself arranging it around other projects. I stumbled into mosaics and learned what it was called after the fact.
Alone in the Woods by Aly Winningham
LMA: It looks like nothing is off limits in your mosaics…what is your favorite material to use?
Aly: I don’t have a favorite. But I do adore the hand poured art glass. Not so much the machine made stuff, like Spectrum. Although it has it place in my work too. The hand poured glass such as, Oceana or Youghiogheny as examples.
LMA: When is your favorite time to create?
Aly: I get started as early as possible M-F this is my full time job. I work in a large space 100 paces behind my house on 5 acres. It is very quiet and private back here, the way I like it! People at shows always say things like “This looks like so much work” and “Wow, you must have so much patience” . I find these comments odd because nothing about creating feels like work. (Selling it of course does!) And honestly, art is the only thing I seem to have patience for at all! LOL! It’s everything else that is stressful. Reality is demanding and often tough or disappointing. Making art in a quiet space is like meditating or escaping into your self and feels therapeutic and essential to my survival.
Abstract in Blues by Aly Winningham
Human Nature by Aly Winningham
LMA: Do you work mainly in direct or indirect method? (Please tell why and what you like about it.)
Aly: I am always working directly, even on an installation. There is too great of a variance in the thickness of my materials and my placements are very persnickety.
LMA: I noticed that you mainly do public and private installations. What drew you in that direction?
Aly: I had an opportunity back in 2005 to create a very large installation in the Flagship Wholefoods here in Austin, TX. How I got this gig is a great story about perseverance and determination but it must be told in its fullness and its too long to do it here. But I did it and it brought a great deal of interest from other designers and builders. Basically, it just started this ball rolling and I didn’t have to do much but be willing. Now I lean away from installations, especially private ones. They are not nearly as profitable for me as wall art and there is more work involved with many contingency factors that are often hard to control. So, I am very selective.
Zen Out by Aly Winningham
LMA: Who and what inspire you to not only create, but to keep creating mosaics?
Aly: Originally, I just know from a very young age I would be an artist. It’s quite simply the only avenue I ever saw for myself. It just took me a while to find mosaics. Very few, if any, accredited school even recognizes mosaics as a legitimate art form, which I think is really a shame.
My work often has a narrative to it, sometimes it’s just a celebration of nature but it also takes a more serious turn into man’s role in the destruction of Mother Earth. Some people see this right away and some miss it completely. For me it is a form of self-expression, which is passive and non-confrontational. Two things I’m not good at practicing in the “real world”.
For a long time I was a metal smith and sculptor. But this became very hard on my hands and body. And there was a lot of competition and it was hard to stick out. Obviously I am passionate about my work, but honestly I am also driven by the almighty dollar! I am able to run a successful business working the festival network. I go to Austin, San Antonio, Dallas, Houston etc…I never need to leave Texas, the economy is strong here and I sell well. I am almost 50 and I have a 7yr old. I am trying to raise her and save money too.
LMA: What are some of your goals/dreams for your future in mosaics?
Aly: I’ve noticed something about life. If you are able minded and able bodied, the only thing that stops you from reaching your goals is not having any or not having a clear vision of exactly what it is you want. I have met all my goals eventually (the art related ones I mean!) right now I am in a position where I am trying to decide if I am staying in Texas or not. This is an all-consuming proposal and has been holding me back from other decisions. One thing I want is a clay kiln. I have a glass one and love it. But adding my own clay tiles is my next short-term goal.
Sky and Sea Tree by Aly Winningham
Red Heart All is One by Aly Winningham
LMA: Do you support any charitable causes? Which ones and why? (Please include a link)
Aly: Yes I support with financial donations ever since the election…
ACLU -American Civil Liberties Union - www.aclu.org
HRC- Human Right Council for the rights of all LGBTQ people - www.hrc.org
Planned Parenthood- www.plannedparenthood.org
(donations made in the name of Mike Pence)
And the Sierra Club- www.sierraclub.org
I am very politically aware and concerned about the state of our country. Specifically, Mother Earth and all her inhabitants who fight for equality including women and all other minority groups.
LMA: Please share one of your favorite quotes with us:
Aly: It will all be ok in the end, if its not ok, its not the end.