tag:blogger.com,1999:blog-23853779041381128242024-03-05T22:23:19.367-08:00Writing Between the TilesWritings about mosaic art and inspirations for my studio work.Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-2385377904138112824.post-75844845040951952062015-04-27T05:43:00.000-07:002015-04-27T05:43:32.147-07:00El Anatsui in Princeton<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">On April 23 I had the great pleasure of attending a special
program at Princeton University where the great contemporary artist El Anatsui
(born in Ghana, based since 1975 in Nigeria) was interviewed by Chika
Okeke-Agulu, professor of art and archaeology in the African American Studies
program at Princeton. The university’s art museum had just acquired one of his
stunningly beautiful wall sculptures—one that is particularly mosaic-like—and
the artist was in town for the installation and for a brief artist-in-residence
visit to engage with students and faculty.<span style="mso-spacerun: yes;">
</span>The April 23rd<span style="mso-spacerun: yes;"> </span>program was open
to the public.<span style="mso-spacerun: yes;"> </span>What a thrill for me to
ask him a couple of questions from the audience!<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The 2014 piece is titled <i style="mso-bidi-font-style: normal;">Another
Place</i>, and like all his recent work, is made of found aluminum from bottle
caps and collars repurposed from used alcoholic beverage containers, the
cut/folded/crushed/crumpled pieces joined by copper wire to create a
shimmering, softly draped metallic tapestry. The curator describes this
particular work as reminiscent of an aerial map of Africa. It hangs in a place
of honor as you enter the museum.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHb1CMmuQZTNMPE9EiRinrtM2LHNF2LJ-RM-6ZahIafaJEaLifp64ys7Oe_QL8ArkeaGVjha16gLbujMAxrc8NzW_htVrCdAjohdnR21_FK8oDwKgAhF90Ccf2J19xpoVk_3Xf18IEhyphenhyphenw/s1600/El+Anatsui+Princeton2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHb1CMmuQZTNMPE9EiRinrtM2LHNF2LJ-RM-6ZahIafaJEaLifp64ys7Oe_QL8ArkeaGVjha16gLbujMAxrc8NzW_htVrCdAjohdnR21_FK8oDwKgAhF90Ccf2J19xpoVk_3Xf18IEhyphenhyphenw/s1600/El+Anatsui+Princeton2.jpg" height="300" width="400" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbWqngmASAnsWTqcnDspR3wpdRUU1xBpvEAwH2DBCyhkw6tYmn7kgORrG0zHMxz5WeTT_31RJO7-lrDfUFmKnyW0qtJjYXpw8LQIeClqOi-4ohTUNVWfVSWRnoVmhvWBUgjzJ9FWeZ34/s1600/El+Anatsui+Princeton3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbWqngmASAnsWTqcnDspR3wpdRUU1xBpvEAwH2DBCyhkw6tYmn7kgORrG0zHMxz5WeTT_31RJO7-lrDfUFmKnyW0qtJjYXpw8LQIeClqOi-4ohTUNVWfVSWRnoVmhvWBUgjzJ9FWeZ34/s1600/El+Anatsui+Princeton3.jpg" height="300" width="400" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After the public program I had an opportunity to meet the
artist in person and convey my admiration for his work and the deep resonance
I—a mosaic artist—felt with his process. I even mentioned that I had presented
a talk and documentary film on his work three years ago at the annual
conference of the Society of American Mosaic Artists (SAMA).</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">How fortunate I feel that from this day
forward we in Princeton have an El Anatsui right here in our hometown.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtPKnWXPrivl4F9OQzqCcRChOvjSe9TBMYZKdl70ydNNM9Dk7DF6_vaNxa5zN-rBFPv32AAKi3jxnLHP4ULKz3gh6SHWHI1xJ-He7xx0-o07uhohqedg6ozTWQ9b3HfJO-_lzECNSjBI/s1600/R+with+EA1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtPKnWXPrivl4F9OQzqCcRChOvjSe9TBMYZKdl70ydNNM9Dk7DF6_vaNxa5zN-rBFPv32AAKi3jxnLHP4ULKz3gh6SHWHI1xJ-He7xx0-o07uhohqedg6ozTWQ9b3HfJO-_lzECNSjBI/s1600/R+with+EA1.JPG" height="300" width="400" /></span></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMAWKHe1XtJBecvzP-sC9h9GPXE05EtPdSUHoxb5EJu1S3i6PgLPAALro-oq7B3HQtD1_mEWBrlA5Cliqh9ms0XW1YlNGaKyu2S1Fy0IID8foZOJ_5LFJk1DVeUx788SFtrUvLjtIPdq4/s1600/R+with+EA2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMAWKHe1XtJBecvzP-sC9h9GPXE05EtPdSUHoxb5EJu1S3i6PgLPAALro-oq7B3HQtD1_mEWBrlA5Cliqh9ms0XW1YlNGaKyu2S1Fy0IID8foZOJ_5LFJk1DVeUx788SFtrUvLjtIPdq4/s1600/R+with+EA2.JPG" height="300" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Speaking to El Anatsui at the Princeton University Art Museum. <br />You can see <i>Another Place</i> (2014) hanging behind him in the top photo. </span></td></tr>
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Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com1tag:blogger.com,1999:blog-2385377904138112824.post-53523427608144733712012-10-24T14:41:00.000-07:002012-10-25T09:10:21.658-07:00The Allure of Raku <!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">Early this summer, when work on the custom dining table base
for Kelly Behun was getting underway, I placed a custom order with WitsEnd
Mosaic for some raku-fired porcelain to use in that project. The tile that arrived was gorgeous—randomly
shaped, exquisitely colored, crazed, cracked, scorched, and warped. Ultimately,
as the table base project found its design direction, Kelly and Alex decided to
limit the materials palette to unglazed porcelain tile in two colors. And so I
packed up the raku ceramic for another day. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBZJtLQUtJ_56v5EO4X5rrPQZmtMRfFontm-LUs8GVcNnmc7kTueRyZL0n4aeJPJIVLAdZzg78DcNZO-CGsJP8JLwgAjXhEkPOxYpeA1WM0vl09noQRKK3Ctn9GD8iRBXkmaE-7P0O4ys/s1600/Raku+Tile+B.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBZJtLQUtJ_56v5EO4X5rrPQZmtMRfFontm-LUs8GVcNnmc7kTueRyZL0n4aeJPJIVLAdZzg78DcNZO-CGsJP8JLwgAjXhEkPOxYpeA1WM0vl09noQRKK3Ctn9GD8iRBXkmaE-7P0O4ys/s320/Raku+Tile+B.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Some of the raku glazed porcelain supplied by WitsEnd Mosaic. </span></td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiebXGM9TVXtrLDPGSw2fgtjQRB-rNn6h1wdQQwVnQbNa5FN-E55Mzl3uCNrsY5_USa2juhhkwW791wYtjnaVRDraNqBro-YwPvZqQNwPXGoQJjbiwIAeGweiuX61qw-lDoZvg0-mSMRu4/s1600/Raku+Tile+D.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiebXGM9TVXtrLDPGSw2fgtjQRB-rNn6h1wdQQwVnQbNa5FN-E55Mzl3uCNrsY5_USa2juhhkwW791wYtjnaVRDraNqBro-YwPvZqQNwPXGoQJjbiwIAeGweiuX61qw-lDoZvg0-mSMRu4/s320/Raku+Tile+D.jpg" width="240" /></span></a><span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">But the material called to me. It was simply too beautiful
to go unused for long. So not long after Labor Day I unpacked the carton and
arranged the tiles on the studio table, expecting inspiration to strike. </span><span style="font-family: Arial, Helvetica, sans-serif;">One exquisite tile--a gift from Leah Zahavi--was key to the plan. </span><span style="font-family: Arial, Helvetica, sans-serif;">Early
on I decided to leave the tiles as large as possible, wanting to preserve the
ragged edges, uneven contours, and full range of color gradation across each
piece. Light and shadow were going to be important elements in this mosaic, and
I wanted the material to sit atop the substrate, not be partially submerged in
a bed of thinset. </span><br />
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For a couple of days I shifted the tiles around on a paper
template until I settled on a large-format composition into which I could
insert some conventionally sized handcut mosaic tile in complementary and
accent colors. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAObPhI1NGGEziNUgmTctg5vtNcfWKo-f4_SJPwEvzAyYtuBga7zu40GudPg7oOELocpGbYil9E2WlW7Uweem44zY0K7per65bPUXL4KwhtIeprvplI3ItMdw58Y3cV1vA6cm_sX30hW4/s1600/Aftermath+composition.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAObPhI1NGGEziNUgmTctg5vtNcfWKo-f4_SJPwEvzAyYtuBga7zu40GudPg7oOELocpGbYil9E2WlW7Uweem44zY0K7per65bPUXL4KwhtIeprvplI3ItMdw58Y3cV1vA6cm_sX30hW4/s400/Aftermath+composition.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">"Sketching" with the actual raku tiles: the design begins to take shape.</span></td></tr>
</tbody></table>
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<span style="font-family: Arial, Helvetica, sans-serif;">I had recently seen the </span><i style="font-family: Arial, Helvetica, sans-serif;">Terra
Incognita</i><span style="font-family: Arial, Helvetica, sans-serif;"> show in Pennsylvania (see blog entry of August 27th), where I
was transfixed by the dramatic texture effects in many of those mosaics. I
decided to create texture from the ground up, as it were. My raku tile seemed
to call for a heavily distressed substrate, something that would help suggest a scarred, post-apocalyptic world.</span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And so I began to prepare a texturized panel of Wedi board
for the project. As for process, I made it up as I went along. First I wrapped
the exposed edges with fiberglass tape, then applied several coats of thinset
slip to cover the tape. Next I by troweled a thicker batch of thinset to the
panel and texturized that with a comb. Once dry, I sanded the ridges down a
bit, then painted the surface matte gray to complement the scorched edges of
the tile. A final coat of tinted thinset applied thinly and unevenly gave me the
quality of urban decay I was looking for.
<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">The prepared substrate before application of mosaic tile. </span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">I transferred the tiles from the paper template to the
textured substrate. </span><span style="font-family: Arial, Helvetica, sans-serif;">I experimented with overlapping and cut some tiles into smaller
shapes in order to embed small mosaic accents. </span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">A network of vertical glass strips helped
unify the design. There is something a bit unsettling in seeing shards of metallic glass amidst the field of destruction. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; text-align: center;">As the mosaic developed I photographed it from above and
made adjustments to the design in order to keep all the formal elements in
balance. Only when I was fully satisfied with the composition did I start
attaching the tile to the panel with premixed tile mastic. I used clear silicone
adhesive for the glass.</span><br />
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The resulting mosaic, titled <i>Aftermath,</i> is a dramatic departure from my usual small-scale precision
style, yet very much in keeping with my fascination with color and texture and
abstract composition.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Aftermath,</i> 43 h x 33.5 w framed, 2012, in raku-fired glazed porcelain
tile, unglazed porcelain tile, </span><span style="font-family: Arial, Helvetica, sans-serif;">stained glass, tinted glass.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When <i>Aftermath</i> was
complete I immediately began another smaller panel, again using raku tile as my
principal material. I combined the surplus tile with a small collection of raku
shards I had purchased earlier, these in brighter colors, some with a metallic
luster. Alongside this tile I placed large shards of textured opaque stained
glass in complementary colors. Some of the glass had random patterning that
played nicely off the random markings in the tile. I came up with my design by
shifting shapes cut from Kraft paper around on a paper template. Only later did
I assign color values to the tiles. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOh1DG_eUf7_uj83Uj0wGNMrpPl5CUcZCVhlo7yAXmTqN4dxyMxJbZ2sof1S1IP2Ay0qDJDGZn8Rya_hH_P9gb0JaK8IwTvD8hcofUlhuyEIUC9eAs_vXCRm5AFMWKJ4aI6WbCOU6XE8/s1600/Progression+IV+composition.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOh1DG_eUf7_uj83Uj0wGNMrpPl5CUcZCVhlo7yAXmTqN4dxyMxJbZ2sof1S1IP2Ay0qDJDGZn8Rya_hH_P9gb0JaK8IwTvD8hcofUlhuyEIUC9eAs_vXCRm5AFMWKJ4aI6WbCOU6XE8/s400/Progression+IV+composition.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; text-align: -webkit-auto;"><span style="font-size: small;">I came up with my design by shifting shapes cut from Kraft paper around on a paper template. Only later did I assign color values to the tiles. </span></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">In this mosaic I was trying to establish a
visual rhythm that suggested a theme-and-variation march across time and space.
Once again, I created the mosaic against a heavily textured substrate created in the manner described
earlier. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Progression IV,</i> a single-panel abstract, 21 h x 37 w framed,
2012, in raku-fired glazed porcelain tile, unglazed porcelain
tile, stained glass.</span><o:p></o:p></div>
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<!--EndFragment-->Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com2tag:blogger.com,1999:blog-2385377904138112824.post-81140951294928108242012-09-25T13:52:00.003-07:002013-07-23T03:57:02.411-07:00Big and Beautiful in Black and White<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sometimes mysterious forces align and my artistic life takes
an unexpected and interesting turn. This happened late in May 2012 when I was
contacted by NYC interior designer Kelly Behun and commissioned to create a
black-and-white mosaic on a massive sculptural form that would become the base
for a custom dining table. The table would be part of a collection of limited-edition, high-end contemporary
furniture designed by Kelly and her assistant Alex P. White for Kelly Behun
Studio (KBS). The collection as a whole would be inspired by designs evocative of noted 20th century artists and designers and each piece would represent a collaboration
between Kelly and Alex and one or more contemporary artists/artisans sourced by KBS. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For a look into the stylish world of Kelly Behun Studio, see
<a href="http://www.kellybehun.com/">www.kellybehun.com. </a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The mosaic project was on a fast track, less than 12 weeks
from initial contact to delivery. Detailed planning began at once. At a meeting
in NYC, I spread out a range of materials and textures in the color palette we
had discussed. Kelly and Alex were familiar with contemporary mosaics and had a
good sense of how they wanted the mosaic surface to look, though for a short
time we considered combining the unglazed porcelain tile they favored with
handmade ceramic elements and/or raku-fired tile in a complementary palette. I
worked up some sample boards showing how these materials could be combined. In
the end, however, as we saw photos of the sculpture-in-progress, Kelly and Alex
zeroed in on an undulating, sinuous design for the mosaic, and it became clear
that the bold graphic pattern would read best if we restricted the colors to
black and an off-white and kept the materials palette free of distracting
elements.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEFFWYzY5zhXFdvYh1J_Gun9IbfnnBfMzPeF9sGhV-AONantw4_cIqXGIIoUvBrU9L3fDgXmDmn5o77iixE9I2I3Jmq8edsSiMC8WSviHTbRQ2EBo4rgr6VGIlJzIV2Y5CVltbJxZTTU/s1600/Town_square_with_black_and_white_mosaic_tiles_flc3479.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEFFWYzY5zhXFdvYh1J_Gun9IbfnnBfMzPeF9sGhV-AONantw4_cIqXGIIoUvBrU9L3fDgXmDmn5o77iixE9I2I3Jmq8edsSiMC8WSviHTbRQ2EBo4rgr6VGIlJzIV2Y5CVltbJxZTTU/s400/Town_square_with_black_and_white_mosaic_tiles_flc3479.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">The undulating mosaic pattern in this plaza was a jumping-off point for our design.</span></td></tr>
</tbody></table>
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<span style="font-family: Arial, Helvetica, sans-serif;">The table base was delivered to my Skillman, NJ studio on
June 15th. It had been sculpted in two massive pieces of solid cork (very heavy!) by
Robert Brou of Naturalism Furniture in Atlanta, GA to resemble a pair of
soft-edged tree stumps leaning toward each other. Ultimately, the two parts would be joined
across a “bridge” designed to support an oversized tabletop fabricated in rare
Macassar ebony (the top also created by Robert Brou). </span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01w5wKegtHKzVFc0VpIhpmRWP8Nc5xi8CcBfnyG-Thg6AbR6T3rMdkPSYhezMm5evLgj-PNerzjR-iQDDTOT3ib4DjhOS-54HvOBTKIkQKgCnsYXdghodG48l14V40ecvbLU_LrBlIQE/s1600/IMG_0167.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01w5wKegtHKzVFc0VpIhpmRWP8Nc5xi8CcBfnyG-Thg6AbR6T3rMdkPSYhezMm5evLgj-PNerzjR-iQDDTOT3ib4DjhOS-54HvOBTKIkQKgCnsYXdghodG48l14V40ecvbLU_LrBlIQE/s400/IMG_0167.jpg" width="400" /></a><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Each section of the base was set up on a pair of sturdy modular tables that allowed me to work at a comfortable height and have 360-degree access around the sculpture. Resting the bases on paint cans meant I could mosaic all the way down to the bottom edge of each form. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In order to fine-tune the design before committing it to the substrate, I created a form-fitting paper pattern and pinned it to the curvy forms. This allowed me to sketch the pattern against the contours of the sculpture, refining the wavy bands of black and white to achieve the optimal color balance and sense of movement. </span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">Kelly and Alex came out to my studio at this point and we collaborated on the final patterning in an all-day work session. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6r0cHlQITXr5NY4rTjjlXGf4zK2TA767p927qH7GzZsnmytCExrzJH8vJJv4FTkVxfjOnokM_H4d7vOMcNSvGdaJqkKMecIidmSrOnVao-OeuZnDrSogtitG_slbrgucGA_F55rGjxQ/s1600/Paper-covered+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6r0cHlQITXr5NY4rTjjlXGf4zK2TA767p927qH7GzZsnmytCExrzJH8vJJv4FTkVxfjOnokM_H4d7vOMcNSvGdaJqkKMecIidmSrOnVao-OeuZnDrSogtitG_slbrgucGA_F55rGjxQ/s400/Paper-covered+1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJw4_p7vGJvWm0787s5fhkSEHxhmnyAkPeNgBnbZgViimL8RbG6KGVUj-0H2D2OPk-LfKLcofJxhFVZ4yRfcol1gwXcf2JecdyVObXTyjL8x42X068Kly7xQdSngxkOPQ2mgmvqOo7OM0/s1600/Kelly+and+Alex+adjust+design.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJw4_p7vGJvWm0787s5fhkSEHxhmnyAkPeNgBnbZgViimL8RbG6KGVUj-0H2D2OPk-LfKLcofJxhFVZ4yRfcol1gwXcf2JecdyVObXTyjL8x42X068Kly7xQdSngxkOPQ2mgmvqOo7OM0/s400/Kelly+and+Alex+adjust+design.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic0uD6zM_yHQAMU8Rxn6ct3_Z-fmVOE2tMKfh0W3d7HIssGi57DQuRqldXPUk4AROAhLPGik3QOkYb9THc3G3iKRQPbiNk9RdmzApqayt3Vzo9MIUxJAxHkwpedZ_MeGNNT_ThniUf4sY/s1600/Design+adjustments-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic0uD6zM_yHQAMU8Rxn6ct3_Z-fmVOE2tMKfh0W3d7HIssGi57DQuRqldXPUk4AROAhLPGik3QOkYb9THc3G3iKRQPbiNk9RdmzApqayt3Vzo9MIUxJAxHkwpedZ_MeGNNT_ThniUf4sY/s400/Design+adjustments-4.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizqKw-hmxgl5bJjS0e36dxDaz2Qpl_tZqqwVOhtxApGzBbmcR-2z6rg_o1Xi4eboaheo43t2kvIiLBxlKx1YH_skGRx7HDxaZzAUx-S7A8KZzyPWLD-XSsruFKy49bW5NBgAJDrgKfRIg/s1600/The+Team.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizqKw-hmxgl5bJjS0e36dxDaz2Qpl_tZqqwVOhtxApGzBbmcR-2z6rg_o1Xi4eboaheo43t2kvIiLBxlKx1YH_skGRx7HDxaZzAUx-S7A8KZzyPWLD-XSsruFKy49bW5NBgAJDrgKfRIg/s400/The+Team.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The final design was a true collaboration.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">My next step was to seal/waterproof the cork surface with a
combination of adhesive fiberglass tape and a skim coat of thinset to create a
proper substrate for mosaic work. </span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">It took a full day to transfer the design from
the paper pattern to the substrate, and another day to get a head start on
cutting mosaic tile (I used a wet saw) from the 2 x 2 squares of unglazed
porcelain.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoLmwKymj8hmbVd2bYcn9UGaob0WVyia5QsqfR0Ux_AwVtkS48i14vHRiFw4bu_vq_HPaA4QBhml26OTrEO2qZkdWhg21lldYHw1aAEUdaIdEJ_hDCNfiFVSBeMDPGeuNEYWYruKzL6Z8/s1600/Design+transferred-7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoLmwKymj8hmbVd2bYcn9UGaob0WVyia5QsqfR0Ux_AwVtkS48i14vHRiFw4bu_vq_HPaA4QBhml26OTrEO2qZkdWhg21lldYHw1aAEUdaIdEJ_hDCNfiFVSBeMDPGeuNEYWYruKzL6Z8/s400/Design+transferred-7.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">I transferred the pattern to the prepared surface with chalk. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKY9YXgKPpre5DQ_HNfTid-Je7mwM437_VQA4WT-RZ2AD2jZsfcCkN78Y6nuuoqGi5U225T_s8dNWeHtgDFW2ZdcHWsmuklgN0ubMZOK49oiNSUU0SPimuFdP61GV2OTBEaeZ9pP9WIwo/s1600/Cutting+tile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKY9YXgKPpre5DQ_HNfTid-Je7mwM437_VQA4WT-RZ2AD2jZsfcCkN78Y6nuuoqGi5U225T_s8dNWeHtgDFW2ZdcHWsmuklgN0ubMZOK49oiNSUU0SPimuFdP61GV2OTBEaeZ9pP9WIwo/s400/Cutting+tile.jpg" width="300" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The first of three wet saws used to cut the 2 x 2 unglazed porcelain tile into mosaic-sized pieces. After cutting, the tiles were rinsed, dried, and sealed. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I started creating the mosaic on June 24th. I isolated a
section of the design (the flatter sections measured approximately 14 inches x
18 inches, the concave or convex sections were much smaller), created a paper pattern
for that section, taped the pattern to a piece of cardboard, and overlaid the
pattern with a piece of sticky mosaic film cut to match. This allowed me to
make the mosaic face-up on the film (direct method) from a sitting position and
work relatively quickly, without using adhesives, making adjustments along the
way. When the section was complete, I overlaid it with a second piece of film (sticky
side down), creating a mosaic “sandwich” that I trimmed to shape and pinned to
the base. I then moved on to the next adjacent section. I had approximately 58 square feet of mosaic
to create before beginning the installation phase, which required keeping a
pace of 2 to 3 square feet of mosaic a day, 6 to 7 days a week. This pace wouldn’t have been possible without
assistance from my teenage neighbor Akshay Kadhiresan, who had some free time
over summer break and helped me cut and prep the tile.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqaW0xoNekeav07isP4y2_1o3pL-cZcYlpC8h-pV2IVujyVUPmwjgSliy8h8L9FM87NRNoGeuoBYJpb4a2CGLEyAWQyNjfGGl1fVxFIxwvIEI1qUbkMCkI1Ng984XASfSYBeoWrHjYNJ4/s1600/Tiling%253A+Day+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqaW0xoNekeav07isP4y2_1o3pL-cZcYlpC8h-pV2IVujyVUPmwjgSliy8h8L9FM87NRNoGeuoBYJpb4a2CGLEyAWQyNjfGGl1fVxFIxwvIEI1qUbkMCkI1Ng984XASfSYBeoWrHjYNJ4/s400/Tiling%253A+Day+4.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I created the mosaic on adhesive film over a pattern traced from a section of the design. When the section was complete, a second sheet of film was laid over it, creating a mosaic "sandwich."</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMAN10WdPa-6Ujt8BvKAGwQk8t9k2YEh1N4GeALngj3-S8T-J35nXiLgV9fSWjX7XxyxNFoGKszOgmAAahuJtM0FNqxFj4uQnly-lUmorABWj8Ird1yemWA-iiBhpv_kAXN1X8zGSMC4/s1600/Tiling%253A+Day+4-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMAN10WdPa-6Ujt8BvKAGwQk8t9k2YEh1N4GeALngj3-S8T-J35nXiLgV9fSWjX7XxyxNFoGKszOgmAAahuJtM0FNqxFj4uQnly-lUmorABWj8Ird1yemWA-iiBhpv_kAXN1X8zGSMC4/s400/Tiling%253A+Day+4-2.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtG0JwlBb7Xrjc0cUjevpymBpGFTDLMS5kJvSqEHqrDnkp1Edx7ohJSCplIXDQH_g9dHBCVvoX8M_KOV4qX12dnjP7nHVgB4mWL-RhK8nIknGcqqFCAkbSTHB_skHukVmdR0yKjtnCRis/s1600/June29-July1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtG0JwlBb7Xrjc0cUjevpymBpGFTDLMS5kJvSqEHqrDnkp1Edx7ohJSCplIXDQH_g9dHBCVvoX8M_KOV4qX12dnjP7nHVgB4mWL-RhK8nIknGcqqFCAkbSTHB_skHukVmdR0yKjtnCRis/s400/June29-July1.jpg" width="400" /></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; text-align: -webkit-auto;">Here and there I left gaps in the mosaic to be filled in just before grouting. This would allow me to minimize the appearance of seams between sections and permit precise fitting of the tile around steep curves. </span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcH7OcSDaucEwVZciT685nqidPIja3oJWEmVnXadGPv1fPmm0DLuZoA1bIptB3LwdQRddwmfHpvwrf_b-kGaWcPxMmL_rPUOwEFAr4yd7DZBSq9eA-_9X5SIQDms8picdiPdof7rxq_8/s1600/Tiling+a+section+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcH7OcSDaucEwVZciT685nqidPIja3oJWEmVnXadGPv1fPmm0DLuZoA1bIptB3LwdQRddwmfHpvwrf_b-kGaWcPxMmL_rPUOwEFAr4yd7DZBSq9eA-_9X5SIQDms8picdiPdof7rxq_8/s400/Tiling+a+section+2.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXW2VUIcj9oLPUHK5ipdFJBWvXPvZRE50j4MMnbPrZ-veerSj1Seog7TEx-KoBaByG5DrzBCgKwjA1N6vncefH53z2zL7wTbmV3NuJdN07hYKjPRyjqfS7k0xp54hlzQCagy5F-KVGNo/s1600/Tiling+a+section+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXW2VUIcj9oLPUHK5ipdFJBWvXPvZRE50j4MMnbPrZ-veerSj1Seog7TEx-KoBaByG5DrzBCgKwjA1N6vncefH53z2zL7wTbmV3NuJdN07hYKjPRyjqfS7k0xp54hlzQCagy5F-KVGNo/s400/Tiling+a+section+7.jpg" width="400" /></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Precision cutting and fitting was the key to keeping the design uniform and minimizing installation problems.</span></td></tr>
</tbody></table>
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<span style="font-family: Arial, Helvetica, sans-serif;">Each day I photographed my progress and sent images to Kelly
and Alex. We all were excited to see the mosaic grow as the tile snaked its way
around the curvy forms. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg36n4HXPz0YCzzmdvOzY6WTFOlTcDijgL1dCdHovITyB5I1HX9dzrEyR1ZzFf0EnH_Z-DqkKWrSDF-Q_gMwfxMKeN9RJIRo-pnq7geE2tpra107CZOc5f7V8ETFJXw3Hsa4QijZ-_Jvbk/s1600/Large+base--July+17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg36n4HXPz0YCzzmdvOzY6WTFOlTcDijgL1dCdHovITyB5I1HX9dzrEyR1ZzFf0EnH_Z-DqkKWrSDF-Q_gMwfxMKeN9RJIRo-pnq7geE2tpra107CZOc5f7V8ETFJXw3Hsa4QijZ-_Jvbk/s400/Large+base--July+17.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The sequence above shows the mosaic taking shape on the larger of the two bases while the smaller base, almost complete, can be seen in the background. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJwuVHGcE0GHLVcJSctey9Qb61fwUDvLPyBLzJfDPenvOw6RbvtCPymmwWFs6W5tmJDK2fkQNxt4v1-4CR9w_W2PN7tIGfko9_FKhxot5ODrU2ohzT6cJBAsQIX35g4ck5azwTLL_JGE/s1600/Signature+tiles+close+up.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJwuVHGcE0GHLVcJSctey9Qb61fwUDvLPyBLzJfDPenvOw6RbvtCPymmwWFs6W5tmJDK2fkQNxt4v1-4CR9w_W2PN7tIGfko9_FKhxot5ODrU2ohzT6cJBAsQIX35g4ck5azwTLL_JGE/s400/Signature+tiles+close+up.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Signature tiles were incorporated into the mosaic. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">By July 30th, the mosaic-making phase was complete and I began
attaching the sections to the base with a thinset made of Laticrete 1500 sanded
grout and Laticrete 4237 latex additive, a mixture that guaranteed a solid
installation. This is always a messy, labor-intensive process that proceeds on
its own timetable, a function of hard-to-control factors like humidity, drying
time, ease of cleanup, etc.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I began with the smaller of the two bases, moving
around the form section by small section, preparing the surface with a thin bed
of the setting material, combing over this layer with a notched trowel, then
pressing each back-buttered section into position, securing it with thin nails
between the tiles to prevent slippage. Once each side of the sculpture was
installed, I went back over it to fill in any missing tiles, then applied fresh
grout to fill in any gaps. My assistant
on this phase was Spring Paul, a student on break from Moore College of Art and
Design in Philadelphia. Spring was great to work with: careful, conscientious,
and indefatigable. Having an extra pair of hands for four long days of grouting
and rinsing and wipe-down and finishing kept the project on track.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The photo sequence below shows some steps in the installation process. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20ATd2o-cWYClQIOaj9j3-8uoBUhgtQwr1loRFb0BcBnMt-IGCcPGbUTil47KeL-NKvUzs0vrQlgEqo0D86vN0D73Hyk5uAGSOtlcPGkgTFUIcSI_0Bcqosq3ez6C_WFlBSssLpjfbm0/s1600/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20ATd2o-cWYClQIOaj9j3-8uoBUhgtQwr1loRFb0BcBnMt-IGCcPGbUTil47KeL-NKvUzs0vrQlgEqo0D86vN0D73Hyk5uAGSOtlcPGkgTFUIcSI_0Bcqosq3ez6C_WFlBSssLpjfbm0/s400/01.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJejJdnqZ8Y80jHZLsV1GspQSNbzyoZT0DZK4sVbSE4b-LFvPF6QVzISNbKEJSWGajtD8qEsS8t2s-3sqHDEBxMfs6LnIMwEm9csrgaseSKzqqJlAohtqpdGygexnsmCWEJBwSSqy9XD4/s1600/03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJejJdnqZ8Y80jHZLsV1GspQSNbzyoZT0DZK4sVbSE4b-LFvPF6QVzISNbKEJSWGajtD8qEsS8t2s-3sqHDEBxMfs6LnIMwEm9csrgaseSKzqqJlAohtqpdGygexnsmCWEJBwSSqy9XD4/s400/03.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZ_v5KU9W2baFr2G1WPLaOqfxz1k8tjbDZR-YfT04zLaMg3JfdSeboi9h17h1so4BV2XOVZDVOP796_qDWHyeASy_1MtrSeAZ2Ok94kCMnz1kGRhMg6TX_YSENJEqqV_UNmpHG4xU8GM/s1600/06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZ_v5KU9W2baFr2G1WPLaOqfxz1k8tjbDZR-YfT04zLaMg3JfdSeboi9h17h1so4BV2XOVZDVOP796_qDWHyeASy_1MtrSeAZ2Ok94kCMnz1kGRhMg6TX_YSENJEqqV_UNmpHG4xU8GM/s400/06.jpg" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM6Dvi3Oswj_h0-OyHL0T2Ll3AAjY5ia1sdziXNLkdNo8xs-NqRRl3nFN4ThYWSnpVKyI1S0h52CTZCOCO4G-DUJeHpDsRR9LrxnDe3POdK8oIihYjI_1Gy5uTqB864QVHKQ7gn-WwLhU/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM6Dvi3Oswj_h0-OyHL0T2Ll3AAjY5ia1sdziXNLkdNo8xs-NqRRl3nFN4ThYWSnpVKyI1S0h52CTZCOCO4G-DUJeHpDsRR9LrxnDe3POdK8oIihYjI_1Gy5uTqB864QVHKQ7gn-WwLhU/s400/07.jpg" width="300" /></a><br />
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Here I have peeled away one sheet of mosaic film to back-butter the underside of the mosaic, pushing the thinset-grout mixture between the tiles. </span></td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt2AoSWb-vS7ZUa0AhdQEVsN9W_Trv7UHdgA45vLelVkncQmJr8av455r2UqKYSnHFgBdLHs7RW-IPQaTn0EY1VqR5mBm-mhFkdF_k42AHvBFobEqeK8YKGRD26KSzORsUQwxbEJr2aLo/s1600/08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt2AoSWb-vS7ZUa0AhdQEVsN9W_Trv7UHdgA45vLelVkncQmJr8av455r2UqKYSnHFgBdLHs7RW-IPQaTn0EY1VqR5mBm-mhFkdF_k42AHvBFobEqeK8YKGRD26KSzORsUQwxbEJr2aLo/s400/08.jpg" width="300" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcD_YkrU16IsV_5EkQpXJrR54DmC5X2epJmSSONAIQ1bsZlfFLKBrxxDtEGLxmPeYyoCHUIYt1WX9Vnb8GMp5jjpsBRJterRV5me9k-loZ8R72emGcoM1gnittAvYECdVOC0DSxRMN8eo/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcD_YkrU16IsV_5EkQpXJrR54DmC5X2epJmSSONAIQ1bsZlfFLKBrxxDtEGLxmPeYyoCHUIYt1WX9Vnb8GMp5jjpsBRJterRV5me9k-loZ8R72emGcoM1gnittAvYECdVOC0DSxRMN8eo/s400/09.jpg" width="300" /></a><br />
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">The section, still held together with a top layer of mosaic film, is lined up carefully against the pattern and pressed firmly into place. </span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrwFWBpDJghBRnHQIF8Jq47mh_XM7iscbP3Mv2FBxu7zbIBmw05ONNPNZU5kW1rVRxkb3H2lMqVSowS0qDUzAHNH75clkTcNN3T9M0qLSpKdI8D0lEn30qyxbBsu6hGlznBu8e4dJjfAg/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrwFWBpDJghBRnHQIF8Jq47mh_XM7iscbP3Mv2FBxu7zbIBmw05ONNPNZU5kW1rVRxkb3H2lMqVSowS0qDUzAHNH75clkTcNN3T9M0qLSpKdI8D0lEn30qyxbBsu6hGlznBu8e4dJjfAg/s400/10.jpg" width="400" /></a><br />
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The first few sections of tile installed on the smaller base. Gaps and missing tiles would be filled in before final grouting. </span></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_XrSWnjO4_rBh0AUdpZynTFdBmaHxjtovCYEisdI_U4NGO4eVOAXRgcTMFTeriG9W2Clj9nUQ4EPDEKpIzr6HOWzNCzL8Vksf9ZxYddV8Zcmsa8zmLVVzx98FqypD_ZFB-uIOUBSKuk/s1600/Rhonda+with+bases+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_XrSWnjO4_rBh0AUdpZynTFdBmaHxjtovCYEisdI_U4NGO4eVOAXRgcTMFTeriG9W2Clj9nUQ4EPDEKpIzr6HOWzNCzL8Vksf9ZxYddV8Zcmsa8zmLVVzx98FqypD_ZFB-uIOUBSKuk/s640/Rhonda+with+bases+1.jpg" width="640" /></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Bases ready for pickup.</span></td></tr>
</tbody></table>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">All finishing work was complete by August 8th, just one day
before the mosaic was scheduled for pickup.
A carpenter temporarily removed a studio door to allow safe passage of
the two bases, now considerably heavier with the addition of tile and grout. Each
base required four men to carry it out and to the waiting truck. </span></div>
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<span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;">After a short stop at a luxury beachside residence
in the Hamptons to be united with its tabletop and photographed with other
furniture in the new collection, the Loggia Mosaic Table was trucked to New York City's </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 16px;">R 20th Century Gallery in Tribeca</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"> for the
Kelly Behun Studio show, “After,” running September 20th–October 27th. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lvbxTzJkBYUrAKp-o5euP6zu5ncep4RQubIfQk3syfWX1PPtjDR85lFzoM4WgtJVL77y5YVzztQCoFOENDSBZBOC-o8r9KiUn-UkTffAlV_oRjxYayxIOtS42aX42_kR5xVyGpCH2Gs/s1600/KBS_Table_hires.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lvbxTzJkBYUrAKp-o5euP6zu5ncep4RQubIfQk3syfWX1PPtjDR85lFzoM4WgtJVL77y5YVzztQCoFOENDSBZBOC-o8r9KiUn-UkTffAlV_oRjxYayxIOtS42aX42_kR5xVyGpCH2Gs/s640/KBS_Table_hires.jpg" width="640" /></a><br />
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The Loggia Table, now retitled "After Burle" for the gallery show, shown here with its freeform Macassar ebony top. </span></td></tr>
</tbody></table>
<span style="font-family: Arial, Helvetica, sans-serif;">To see other KBS custom limited-edition furniture created for the collection, check out the very cool video featuring SKOTE, filmed at the gallery. </span><a href="http://vimeo.com/49656519">http://vimeo.com/49656519</a><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The KBS “After” furniture line received enthusiastic press
coverage in the <i>New York Times</i>
(September 19), in the online edition of the <i>Wall Street Journal</i> (September 20), in <i>Manhattan Modern Luxury</i> magazine (October), in <i>Dwell</i> (October), and in numerous design blogs. For the mosaics
community, the SKOTE video made in connection with the show was featured on
Mosaic Art Now online. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUzQY6cHNka8KXQ78dHJnUJwroLWNeyvimejGzmB1IkiJkTn3YcJWXErZf-lkUHiLBYguTjWC_OW3hcl-WYpcPirp4_t_89NvbOOA1QsxgqPjFCt7RYu1fRVktz9dw7whbadMYu9tLAA/s1600/Behun-EDC-08-13-05-lgn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUzQY6cHNka8KXQ78dHJnUJwroLWNeyvimejGzmB1IkiJkTn3YcJWXErZf-lkUHiLBYguTjWC_OW3hcl-WYpcPirp4_t_89NvbOOA1QsxgqPjFCt7RYu1fRVktz9dw7whbadMYu9tLAA/s640/Behun-EDC-08-13-05-lgn.jpg" width="640" /></a><br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Here is the table as photographed for <i>Elle Decor </i>in a feature on the designer's spectacular Hamptons home. </span></td></tr>
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<span style="font-family: Helvetica;">Those still wondering where to draw the distinction between craft and
art in mosaics need look no further than <b><i>Terra Incognita: Mosaic Explorations,</i></b>
a small group exhibition of contemporary mosaic art expertly co-curated by Karen
Kettering Dimit and Rachel Sager Lynch and presented July 10 through August 26th at The Gallery at
Penn College, Pennsylvania College of Technology, in Williamsport,
Pennsylvania. <o:p></o:p></span></div>
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<span style="font-family: Helvetica;">How grateful I am that I made the drive to central Pennsylvania to see
this exceptional exhibition in person. The show provided an in-depth look at
the recent work of five artists: JeanAnn Dabb, Karen Kettering Dimit, Cynthia
Fisher, Yulia Hanansen, and Rachel Sager Lynch. Five distinct voices, all
committed to pursuing their individual investigations of the world in the
language of mosaics. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRMha-XWqyiPRH_YCNC0vJb4oAKPvVzgIU-e3PD8k3QxyhvqG_R0DDCM9-GyNfjEyOmTJNhxu7oBMUgFTvTMCDe99JU0EL92ryK7uitBFX3omLcTEo4jSVk3tuzCnDZfq0Pycqm7GyjCE/s1600/Show+sign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRMha-XWqyiPRH_YCNC0vJb4oAKPvVzgIU-e3PD8k3QxyhvqG_R0DDCM9-GyNfjEyOmTJNhxu7oBMUgFTvTMCDe99JU0EL92ryK7uitBFX3omLcTEo4jSVk3tuzCnDZfq0Pycqm7GyjCE/s400/Show+sign.jpg" width="400" /></a></div>
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<span style="font-family: Helvetica;">For those who couldn’t make the trip, Nancie Mills Pipgras provides an
excellent overview of the show with splendid photos on the website of <b><i>Mosaic
Art Now</i></b> (</span><a href="http://www.mosaicartnow.com/2012/07/terra-incognita/"><span style="color: black; font-family: Helvetica; mso-themecolor: text1;">http://www.mosaicartnow.com/2012/07/terra-incognita/</span></a><span style="font-family: Helvetica;">). Additional
information on the exhibition can be found at </span><a href="http://www.pct.edu/gallery"><span style="color: black; font-family: Helvetica; mso-themecolor: text1;">www.pct.edu/gallery</span></a><span class="MsoHyperlink"><span style="font-family: Helvetica;">.</span></span><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzta9rFI1CoagtXbsIzyZ-0zkvnlZRPfpbKhxxIQfZpeNyI7DivKTRaQr2l63eEWvxva6wbY0b0E6Y_dO6BgQIZWQYTurN0UE2T3I6eaQXP9zdlzSQh-AakVKSE8hqBlgkAaQ5-QIM1Q/s1600/Gallery+view.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzta9rFI1CoagtXbsIzyZ-0zkvnlZRPfpbKhxxIQfZpeNyI7DivKTRaQr2l63eEWvxva6wbY0b0E6Y_dO6BgQIZWQYTurN0UE2T3I6eaQXP9zdlzSQh-AakVKSE8hqBlgkAaQ5-QIM1Q/s400/Gallery+view.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Miss Cucuteni 2011,</i> one of several of Karen Kettering Dimit's Subway Goddesses, </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">greets gallery visitors. On the near wall, five mosaics <br />from her series, <i>NYC Water Towers: A Mosaic "Sketchbook"</i> </span></td></tr>
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<span style="font-family: Helvetica;">The show was unified by a guiding sensibility in that each artist used
the medium of mosaics to explore worlds unknown—whether near (as in a rarely
visited tract of forest or an overlooked facet of the urban landscape) or far
(as seen in representations of historic or imagined maps, the subterranean
earth, undersea environments, and outer space).</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCDCSe4q5Z9ArQuuG8tJQdDOfUb8X-Vy-mIhS1vsapfGtFzBILE7f_guoQHWeP3z3ZqV-QJG4QRAoS4CkNZQsjXxJxPuMzY_QU9kcQ9oZtYEKeDJKKdlg_OANnVsXqEhoVnK8HJnd3jTI/s1600/Yulia+Hanansen-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCDCSe4q5Z9ArQuuG8tJQdDOfUb8X-Vy-mIhS1vsapfGtFzBILE7f_guoQHWeP3z3ZqV-QJG4QRAoS4CkNZQsjXxJxPuMzY_QU9kcQ9oZtYEKeDJKKdlg_OANnVsXqEhoVnK8HJnd3jTI/s400/Yulia+Hanansen-2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Yulia Hanansen explores galaxies, distant stars, and space travel in the language of mosaics.</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAsaej2Ji2TLP2gIuNekVnqo69P-4lyQoWBi14enqpyHgSvmOWAzwfiZsx-Qk62nb-di_Xw7Lw5zEtdv_gtGxRiB_JTW3Ttz_gRWEyL0ETmsnwKSos7ewIGbPc_r1Oa7MdQ7EmoyZWBI/s1600/Yulia+Hanansen--quartet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAsaej2Ji2TLP2gIuNekVnqo69P-4lyQoWBi14enqpyHgSvmOWAzwfiZsx-Qk62nb-di_Xw7Lw5zEtdv_gtGxRiB_JTW3Ttz_gRWEyL0ETmsnwKSos7ewIGbPc_r1Oa7MdQ7EmoyZWBI/s320/Yulia+Hanansen--quartet.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In these small-format mosaics Hanansen uses rippled and layered glass and signature feather-shaped cuts to convey a cosmos teeming with energy and brilliant color.</span></td></tr>
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<span style="font-family: Helvetica;">Every work in the exhibit had the power of specificity, a meaning that
transcended the virtuoso handling of color and texture and referenced a
particular time or place or cultural current. The art was brave, original, fully
thought out, and deeply expressive. There was plenty of variety in the formats:
two- and three-dimensional work, sculpture that used mosaic only in part, interesting
use of negative space. It was fun to
read the show for each artist’s self-professed wonky fascination with a topic
of interest: archeology and anthropology, geology, geography and cartography, cosmic
forces and scientific achievement, urban architecture, ancient vs. pop culture,
and the natural environment. Because each mosaicist was invited to display a
small body of work, you could see her engagement with a theme over time and get
a good sense of what makes her work distinctive and important.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRBz6Eqcl5DbGPBkAT45N4DDc1FWu0U7xNL_Fm7Hy9EuxImEcGhI9fKsnsifF5WAe1hC__AgRhfGH87nmaPBpQu5-D_1fOeI01JVJBf4W6AWpc4m0uB7MJwq_E2X1hP5TTdz1c71Ys8Ro/s1600/Jean+Ann+Dabb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRBz6Eqcl5DbGPBkAT45N4DDc1FWu0U7xNL_Fm7Hy9EuxImEcGhI9fKsnsifF5WAe1hC__AgRhfGH87nmaPBpQu5-D_1fOeI01JVJBf4W6AWpc4m0uB7MJwq_E2X1hP5TTdz1c71Ys8Ro/s320/Jean+Ann+Dabb.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVkfIt6UMOBpXWH83eneCo5gbHifibrMQmZc6hQ1eXr16oyOb3cf6EE6Px6woKKBFugEcKgo8GAxHEMYevlb__39qqTaQP5zpynRG_4S2ZFVYn3JPxxJNGJLvefccUoxiRQFZ9FdbaMKc/s1600/Jean+Ann+Dabb-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVkfIt6UMOBpXWH83eneCo5gbHifibrMQmZc6hQ1eXr16oyOb3cf6EE6Px6woKKBFugEcKgo8GAxHEMYevlb__39qqTaQP5zpynRG_4S2ZFVYn3JPxxJNGJLvefccUoxiRQFZ9FdbaMKc/s320/Jean+Ann+Dabb-3.jpg" width="240" /></a></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: 13px;">JeanAnn Dabb uses a variety of innovative formats to explore themes of geology and archeology. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: 13px;">Her mosaics come alive with dramatic textures, light and shadow. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qMF8ltLr86IQphbGydl3IRZkwkAtgoy-H6EibYGmn3X-iYFIuVAFc2Fd1rxNs9YB7tqkAAWAw8llrVJCCK-k01tb9vtKm7oPNO2TBeCuWn29sn2-r8CviRrfxJwe_Raa936-DWBqfIU/s1600/Jean+Ann+Dabb--detail+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qMF8ltLr86IQphbGydl3IRZkwkAtgoy-H6EibYGmn3X-iYFIuVAFc2Fd1rxNs9YB7tqkAAWAw8llrVJCCK-k01tb9vtKm7oPNO2TBeCuWn29sn2-r8CviRrfxJwe_Raa936-DWBqfIU/s400/Jean+Ann+Dabb--detail+3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fossils, smalti, and stone were combined to magnificent effect in this Dabb mosaic, <br /><i>Lower Bridger Formation: Howard's Beach,</i> a detail of which is pictured here. </span></td></tr>
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<span style="font-family: Helvetica;">Because mosaic making is so labor-intensive, any piece is the product of
thousands upon thousands of individual choices. That these choices can result
in a work that is unified in its formal elements, expressive with the hallmarks
of an individual style, and resonant with meaning was on full display in this show.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_eH1lp4OBPgsaCoyoz5w0pJ-6XBcB8F9Hbln45ZywHZX09Fu0xuzW8tl591t9mlF7IK4orgyRVyeT3a9XzsFKwRHGjHFy83oG7-E2i8DJk-tkyMr6RWMC2zt122CvZJh0fBJ-zJ7b7SQ/s1600/Rachel+Sager+Lynch-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_eH1lp4OBPgsaCoyoz5w0pJ-6XBcB8F9Hbln45ZywHZX09Fu0xuzW8tl591t9mlF7IK4orgyRVyeT3a9XzsFKwRHGjHFy83oG7-E2i8DJk-tkyMr6RWMC2zt122CvZJh0fBJ-zJ7b7SQ/s320/Rachel+Sager+Lynch-5.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rachel Sager Lynch's mosaics are rich with exquisitely modulated color and texture, as in <br /><i>A Color Wheel: From Whitsett to Leiper's Fork.</i> </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFmd3vWP7QTmySivyutDNDJKLesYA-lSsNZX4FFyaXF89m5-EfRfwairLXermip2-Gv0aeqHnZrKmUJKqkAS3FdtmjWIKfB4s-I9u3btjx9imqWyjCn5LUvZVCvfNXW_bGEhoAQnKfSL0/s1600/Rachel+Sager+Lynch--map+cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFmd3vWP7QTmySivyutDNDJKLesYA-lSsNZX4FFyaXF89m5-EfRfwairLXermip2-Gv0aeqHnZrKmUJKqkAS3FdtmjWIKfB4s-I9u3btjx9imqWyjCn5LUvZVCvfNXW_bGEhoAQnKfSL0/s320/Rachel+Sager+Lynch--map+cropped.jpg" width="320" /></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Another Sager Lynch mosaic, <i>Light Out for the Territory, </i>was one of several in the show<br /> that reflects her interest in cartography. Reading from the left, the rugged texture gives the land a wild, uncultivated aspect. Right of the river, an orderly andamento shows evidence of settlement. Here is technique in service of meaning. </span></td></tr>
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<span style="font-family: Helvetica;">The mosaics were also simply gorgeous—teeming with color and abundant
with a rich palette of materials, sensuous, touchable. I was sometimes
transfixed by the color or texture of single stone or a single row of tesserae, a testament to the power of a finely made mosaic to draw you close. Traditional mosaic materials like glass, smalti,
stone, marble, and ceramic were represented, as well as metals, fossils,
shells, gemlike minerals, coal, repurposed industrial parts, and unusual found
objects. Everywhere I looked I saw technical prowess as demonstrated by
interesting juxtapositions and skillful transitions. And yet despite the
ambition of each mosaic, the bold choices, there was also a welcome restraint,
a sense of control. No “irrational exuberance” here, and the whole exhibit was
better for it. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuN9O-OLX8wbE8NCnKmarR59IUTNv-_ur60oijOao-gFUOEcwkdU10Nr1Sc_tqrJn0m19qvrJ0FWBD2OMzRjun6O2gJOe4_2xwXTaJprHeJnrnfMTxC51THFnDi5-3jGePRXZ84bGM_Ag/s1600/Cynthia+Fisher--Textures%252C+Fall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuN9O-OLX8wbE8NCnKmarR59IUTNv-_ur60oijOao-gFUOEcwkdU10Nr1Sc_tqrJn0m19qvrJ0FWBD2OMzRjun6O2gJOe4_2xwXTaJprHeJnrnfMTxC51THFnDi5-3jGePRXZ84bGM_Ag/s320/Cynthia+Fisher--Textures%252C+Fall.jpg" width="320" /></a><br />
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cynthia Fisher's <i>Textures, Fall</i> demonstrates her powers of close observation and her ability <br />to reconstruct her impressions in jazz-inflected, color-infused mosaics that convey the variety and poetic beauty of her Massachusetts landscape.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcF64S6peTNvJS9FK2bDoHZaoo-w9638N7ewlNvLs0ZU_KE559WLNVVipyGZt64iMGRPmk975lS2An73tExHcuDIw8dyVagqH-MU_10Ql6ddzD4g8HVwdLItxswMyNVl0F_w54rnnabo/s1600/Cynthia+Fisher--cropped+flipped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcF64S6peTNvJS9FK2bDoHZaoo-w9638N7ewlNvLs0ZU_KE559WLNVVipyGZt64iMGRPmk975lS2An73tExHcuDIw8dyVagqH-MU_10Ql6ddzD4g8HVwdLItxswMyNVl0F_w54rnnabo/s320/Cynthia+Fisher--cropped+flipped.jpg" width="240" /></a></div>
<br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In <i>My World</i> Fisher orchestrates the elements of landscape and atmosphere in a <br />stunning mosaic composition that captures a particular moment in time. </span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: Helvetica;">The gallery configuration
made for an exceptional viewing experience. </span><span style="font-family: Helvetica;">The spacious floor plan,
the signage, the lighting, even the background music all elevated the show. The
gallery welcomed visitors with a brief video presentation narrated by JeanAnn
Dabb on the history of mosaics and an overview of materials and techniques.
This, along with a printed exhibition guide, helped those new to contemporary
mosaics better understand and appreciate the art.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Helvetica;">Mosaicists everywhere owe a huge debt to
Karen Kettering Dimit for scoping out the opportunity at Penn College and for
the thoughtful and sensitive way she and Lynch conceived and curated the show. I</span><span style="font-family: Helvetica;">t all came together
in a first-rate slice of what's happening in American mosaics. To my mind, it
was the best exhibition of contemporary mosaic art I've ever seen--intelligent,
bold, thoroughly American in its scope and interests. I only wish it could
be packed up and shipped to several more galleries around the country so more
people could see it. </span><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<br /></div>
<span style="font-family: Helvetica;">I know that following
the 2011 exhibition in Ravenna, there’s been a lot of excitement in the field
about the </span><span style="font-family: Helvetica;">monochromatic
textured mosaics that are all the rage in Europe (CaCO3, etc.) I admire these
mosaics as well, but I hope that the next MAI exhibition at SAMA's 2013 conference won’t
elevate the work of imitators of this style who are following the Europeans'
example, herdlike, without the</span><span style="font-family: Helvetica;"> </span><span style="font-family: Helvetica;">conceptual/philosophical backbone
that inspired the original work. It seems to me that the mosaics of the </span><i style="font-family: Helvetica;">Terra Incognita</i><span style="font-family: Helvetica;"> artists represents an
equally valid mode of expression--one based on the power of color + texture +
personal passion. The result are mosaics that reflect distinctly American
concerns--our cityscapes, our fascination with scientific discovery, our seasonal
variation, our history and archeology, our cultural icons, even our environmental disasters.</span><br />
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<span style="font-family: Helvetica;">It’s an idiom equally worthy of
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<!--EndFragment-->Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com3tag:blogger.com,1999:blog-2385377904138112824.post-14074457727105526172012-03-14T11:18:00.000-07:002012-03-14T11:18:23.352-07:00Karen Kettering Dimit and Damien Hirst: A New York State of Mind<!--[if gte mso 9]><xml>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In February I paid a visit to the Long Island
City studio of my friend and fellow SAMA member Karen Kettering Dimit. An
artist who uses mosaic as both a principal material in framed pieces and as a
way to add color, texture, and meaning to some of her sculptural work, Karen
works in a spacious third-floor space in a loft building filled with artist
studios. The sunlight streams in through huge windows and the elevated train
rumbles by at regular intervals. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">One room of the studio is set up for display of
completed pieces and storage of materials; a second room is a well-outfitted
work space, anchored by sturdy tables and ringed by all manner of tools and equipment
for cutting and polishing marble and mosaic making.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">On entering the studio, my eye is drawn to a
collection of powerful stone sculptures in the classic mode, most set above contrasting
mechanical platforms. Karen has been sculpting in stone for a decade. The
forms—depicting partial torsos, heads, and body parts emerging in polished
perfection from the raw stone—are pared down, elegant, abstract. The size makes
them easy to relate to; most are small enough to wrap one’s arms around. As a
group, the sculptures are undeniably beautiful and invested with meaning. They evoke
something lyrical, dreamlike, and timeless. Karen explained how she came to
sculpture through an immediate connection to the material itself. “The stone
just spoke to me, and said ‘do something.’” She answered that call with an
awesome energy, insight, and talent. Some of the sculptures are deeply
personal, tributes to loved ones facing illness and decline, but every piece
conveys dignity and strength. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_wAkH4Wp0QNS1a9r4Mwli1wYs6qtoOFvkRpZOEd8naZSqDFPoqf68FELdMa5h3xfPtwTdJmobfI0xDGYkLn8zrMb2-SmS1iysNJ28GnSTMDou6yf3BuAUD7PBkZ-CR6pD-kJxHmcKAI/s1600/K_studio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_wAkH4Wp0QNS1a9r4Mwli1wYs6qtoOFvkRpZOEd8naZSqDFPoqf68FELdMa5h3xfPtwTdJmobfI0xDGYkLn8zrMb2-SmS1iysNJ28GnSTMDou6yf3BuAUD7PBkZ-CR6pD-kJxHmcKAI/s400/K_studio.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The sculptural work of Karen Kettering Dimit as displayed in her LIC studio.</span><span class="Apple-style-span" style="font-family: Arial; font-size: small;"> </span></td></tr>
</tbody></table>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Given my interest in mosaics, I was eager to
see the project on her work table: a new mosaic panel in her series depicting
NYC water towers, those iconic structures that dot Manhattan’s skyline, perched
atop every city building taller than six stories. Karen calls the series “a
mosaic sketchbook,” because within the context of the project she uses her
gifts as a mosaicist to address fundamental questions of form, composition,
perspective, scale, color, texture, light and shade. She incorporates both
humble and exquisite materials in these small-format framed panels. The newest
mosaic in the series—a study in black, grey, and white, with a stormy sky—is a
perfect example of Karen’s sensitive handling of materials.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6sbyqU7RhEhyOCpBgEJq8p3kzn5X7TWIC0o9BufIgN1zjDppj0ednXgFflTTNW4E_ETru2QjXtIFlj-Yg6JcWX3988GOJrlwSE4a4boLntGsGD950RX1hxeWW9s3Rd9BHXMEu6ukvv8/s1600/CIMG7550.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6sbyqU7RhEhyOCpBgEJq8p3kzn5X7TWIC0o9BufIgN1zjDppj0ednXgFflTTNW4E_ETru2QjXtIFlj-Yg6JcWX3988GOJrlwSE4a4boLntGsGD950RX1hxeWW9s3Rd9BHXMEu6ukvv8/s400/CIMG7550.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Karen surrounded by smalti and minerals as she works on <i>NYC Water Towers XII</i>, a mosaic-in-progress. </span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVU_rn1JZOjDZdO0IQTQUHRzq4FTmqoEvlQM8r7NQG1am7gUr-uXZEm8M6B6Hw14Ykna7nwAEEehrxe_E5Q3ecjmyaih_w3k0o1KIWpZiQEk86loeX6z-ouaSAb91uGXflf4Ny6w5uetU/s1600/CIMG7555.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVU_rn1JZOjDZdO0IQTQUHRzq4FTmqoEvlQM8r7NQG1am7gUr-uXZEm8M6B6Hw14Ykna7nwAEEehrxe_E5Q3ecjmyaih_w3k0o1KIWpZiQEk86loeX6z-ouaSAb91uGXflf4Ny6w5uetU/s400/CIMG7555.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A few pieces from the series "<i>NYC Water Towers: A Mosaic Sketchbook</i>."</span></td></tr>
</tbody></table>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Another area of focus—one combining her
feminist perspective with her interests in sculpture and mosaics—is her Subway
Goddess Pageant series, a collection inspired by ancient sculptures of powerful women. With
wit and imagination, Karen weaves together anthropology, history, and social
commentary as she reimagines these totemic female forms as contemporary New
Yorkers. Each modern goddess has a distinct personality and is posed above a smaller
stone carving of its historic counterpart. The ancient goddesses—simple and
unadorned—suggest a powerful life force; the subway goddesses—clad in
exquisitely detailed mosaic that rewards careful inspection—suggest the vanity
and materialism of today’s culture. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqTHJ2h-bZKUDh8Z70fwFSah4R_eKsDnMTuHYuiTeXqT2OT2i_SiIdRW5CRArEFKQqA-NSudDQMNymxp5ACObiaKlziEQowA-JJPcTW-XYNlFIEuVhEUWb-CDKEki2a9pQkuWxyR8Eys/s1600/CIMG7557.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqTHJ2h-bZKUDh8Z70fwFSah4R_eKsDnMTuHYuiTeXqT2OT2i_SiIdRW5CRArEFKQqA-NSudDQMNymxp5ACObiaKlziEQowA-JJPcTW-XYNlFIEuVhEUWb-CDKEki2a9pQkuWxyR8Eys/s400/CIMG7557.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Karen with<i> Miss Cyclades</i> 2009.</span><span class="Apple-style-span" style="font-family: Arial; font-size: small;"> </span></td></tr>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">All of Karen’s artwork shows a thoughtful,
disciplined mind at work and suggests the rewards that come from deep
exploration of a single theme. This is what distinguishes a true artist: not
just the production of art but the investment of meaning. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">For more on Karen and close-up images of her art, see www.kkdimit.com.</span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Following lunch at LIC Market, a great café a
couple of blocks from the studio, we took a short subway ride back to
Manhattan, to Chelsea, where we spent the rest of the afternoon cruising the
galleries. One destination was the Gagosian Gallery, which was featuring a
major installation of the Damien Hirst spot paintings from 1986-2011. I had
seen four paintings in this series at an exhibition at MOMA a few years ago,
but now Karen and I were surrounded by dozens of canvases in a variety of
configurations: thousands and thousands of precisely painted circles of color,
some huge, some minute.<o:p></o:p></span></div>
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<span style="color: #535353;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Damien Hirst
, <i>Phe-Tyr,</i> 2004,
Household gloss on canvas,
140 x
156 inches </span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span style="color: #535353;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">
© Damien Hirst and Science Ltd. All rights
reserved, DACS 2011.</span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></span></div>
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<span style="color: #535353;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Image courtesy Gagosian Gallery.</span></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Standing in this sea of color, I found myself
mesmerized by the power of spots taken to an exponential dimension. We wandered
through the rooms, getting lost in the paintings, enjoying the visual phenomena
and marveling at their variety and complexity, given how simple the content is.
I found enjoying the exhibition much more than I expected to—who could be
immume to this color riot?—yet on the whole felt irritated at the artist
himself. Hirst had come up with the big concept—creating a structure through
which he could “pin down” the joy of pure color—and set the parameters for the
program, but after he worked this series for some time he evidently became
bored and moved on to other things. However, the public demanded more of his
easy-to-like spots. And so more were produced. However, now after a certain
point he turned the painting over to his assistants who made the creative
decisions regarding the color sequences. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">As someone who is deeply engaged mentally and
physically with every minute decision in the course of making a mosaic, Hirst’s
practice seems outrageously detached. I want to see the artist’s own hand in
the final work, not feel the task of painting itself has been outsourced. It’s
easy to dismiss Hirst as a relentless self-promoter, more showman than artist. Yet
as much as I wanted to dislike the show for these reasons, I had to admit that
the paintings themselves spoke to me, particularly when assembled in a large
group and exhibited under ideal conditions. It was not only that spending time
in a precisely ordered, color-rich universe lulled me into bliss. It was that a
study of the series suggested once again the notion of the artist as
problem-solver, the value in maintaining focus on a narrowly defined subject
and mining it exhaustively. Not repetition. Penetration. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Andy Warhol was a visionary, a true original
who set art on a new course. Yet much of his art was series-based and produced
under workshop conditions. Do I respect him less for it? On the contrary, I
accept his concept of multiples and all its implications and see it as central
to his vision. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">How will history judge Damien Hirst? A question
to ponder as the Tate Modern in London gets ready for the artist’s first major
retrospective, opening in April. <o:p></o:p></span></div>
<!--EndFragment-->Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com3tag:blogger.com,1999:blog-2385377904138112824.post-69087995024091133122012-02-05T05:39:00.000-08:002012-02-07T05:06:58.985-08:00Art and Money: Connecting the Dots<span class="Apple-style-span" style="color: #274e13; font-family: Arial; font-size: x-small;">Art and Money--what a compelling topic. Why are
some living artists setting and getting stratospheric prices for their work,
while others, whose work is equally worthy, are languishing in poverty and
obscurity? How has globalization revolutionized the art market, and how have prices been affected by the worldwide economic downturn? Who are the important
dealers and collectors who generate and sustain the hype surrounding the the big international art fairs and the headline-making art
auctions at Sotheby’s and Christie’s? And what's up with Damien Hirst and
those dot paintings?</span><br />
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<span style="font-family: Arial;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;">If you’re looking for insights into the inner
workings of the contemporary art market, a must-read is <i>Art of the Deal:
Contemporary Art in a Global Financial Market,</i> an important new book by Noah
Horowitz. He focuses on how today’s marquee-name artists not only make art, but
how their dealers package, sell, and brand it, and how dealers and collectors trade in art
for investment, prestige, and access to a rarefied social sphere of movers and shakers. The
picture that emerges is somewhat repellent, but always fascinating. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpvQciaNBr6jDEJExb3gc77kOTdcuAytPrsLMlwXQEhI4Wnyh4UpZW-ebuw2oWb142zU_b59w0WXj8sdKMMiUIMuWf2-i0nhZVKoPYVArU_xQ36urx6CX_7nFLhcgmzavHLV8-YIu6hOM/s1600/HorowitzBook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpvQciaNBr6jDEJExb3gc77kOTdcuAytPrsLMlwXQEhI4Wnyh4UpZW-ebuw2oWb142zU_b59w0WXj8sdKMMiUIMuWf2-i0nhZVKoPYVArU_xQ36urx6CX_7nFLhcgmzavHLV8-YIu6hOM/s320/HorowitzBook.jpg" width="214" /></span></a></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;">The book is a challenging read, even scholarly, but worth an investment of your time if the
topic intrigues you, as it did me. I was rewarded with a glimpse into a segment
of the economy light years removed from my humble studio, as well as a better
understanding of several categories of art that had long puzzled me—video art,
installation art, and experiential art—including how such work is curated,
preserved, and valued. <o:p></o:p></span></span></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;">(Hint: don't be put off by the densely written introduction. Skim that section and plunge ahead into the more engaging main chapters. At the end of the book, go back and re-read the intro, which comes into sharper focus second time around.)</span></span></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;">Horowitz is an art historian, an expert on the
international art market, and was recently appointed managing director of The
Armory Show, held March 8-11 this year in NYC at Piers 92 & 94. <a href="http://www.thearmoryshow.com/">http://www.thearmoryshow.com/</a></span><o:p></o:p></span></div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com1tag:blogger.com,1999:blog-2385377904138112824.post-63131733138795116042012-01-29T03:22:00.000-08:002012-01-30T13:06:17.335-08:00January 12, 2012 -- Patterns of Old Japan<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; font-size: x-small;">My book on Japanese patterns arrived in the mail two days ago, and I’ve been poring over it, along with my other books on Japanese art and design, thinking about color and pattern mixing.</span><br />
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;">I believe I’ve found the perfect color palette in a ukiyo-e print by Hiroshige (19</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><sup>th</sup></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"> c.). </span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">On a 2010 trip to Japan, I admired the variety of colors and patterns and textures seen in kimonos worn by the geisha, noting how the women mixed patterns for the various elements of their costume with exquisite sensitivity to color, scale, and seasonal theme.</span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy2U0H4Wd9wngSvgAWplKaKIzPwJP1OQZ8LElwuxhaSJSKTMDnsd1UrLBYrgHovIb0Lhvyu4kjGDD-oL2xunYVYjo4QmY0AfkKJ0xY5FN3wCYVkCfg4sa1_tp-IpWRRsWKn-nuu-bTvJ4/s1600/Maiko:+17+years+old.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy2U0H4Wd9wngSvgAWplKaKIzPwJP1OQZ8LElwuxhaSJSKTMDnsd1UrLBYrgHovIb0Lhvyu4kjGDD-oL2xunYVYjo4QmY0AfkKJ0xY5FN3wCYVkCfg4sa1_tp-IpWRRsWKn-nuu-bTvJ4/s320/Maiko:+17+years+old.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPWh5KHJ9NBLXWY_awr1nFFtXMDfi6hRORpnAY6aUSJib9roaHTZEGZc8FJvYYNyfRuxkKlSdfcbyuvWtsYvmbnVI1_jZdXwMP4Ru1XfqCA_tBtuLv6mxyPsVRu2uv4axn8KbnurG5Bzs/s1600/Under+kimono+and+tabi+socks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPWh5KHJ9NBLXWY_awr1nFFtXMDfi6hRORpnAY6aUSJib9roaHTZEGZc8FJvYYNyfRuxkKlSdfcbyuvWtsYvmbnVI1_jZdXwMP4Ru1XfqCA_tBtuLv6mxyPsVRu2uv4axn8KbnurG5Bzs/s320/Under+kimono+and+tabi+socks.jpg" width="240" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvdI9R7SBa4BhiYRmTN97MQU-H2faqQXKd5fD3A7Lu0dKywBYOXgnUL9Imx4ajExRCPu9JgisHacX2uRNYAzj2_R-QoPyF44ftML8Ma9uaVDTDmjpHprNPWrrr_r0_XVPSiuKTUUmYi4g/s1600/Spotting+geisha+everywhere.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvdI9R7SBa4BhiYRmTN97MQU-H2faqQXKd5fD3A7Lu0dKywBYOXgnUL9Imx4ajExRCPu9JgisHacX2uRNYAzj2_R-QoPyF44ftML8Ma9uaVDTDmjpHprNPWrrr_r0_XVPSiuKTUUmYi4g/s320/Spotting+geisha+everywhere.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-size: x-small;">On a 2010 visit to Kyoto, we were fortunate to cross paths</span><br />
<span class="Apple-style-span" style="color: #274e13; font-size: x-small;">with several geisha in traditional costume.</span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;">As a mosaicist, it’s my challenge to come up with a way to interpret those textile patterns—most of them created by silkscreen, some by weaving—in an art form where pattern is developed unit by unit, tile by tile. It’s like trying to speak a new language when there is no common vocabulary. I will have to look for patterns that lend themselves to translation in mosaic.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Today I’ve divided a large sheet of Kraft paper (about 35 inches high x 72 inches wide overall) into six vertical panels, pinned the paper to a wall in the foyer, and started planning a mixed pattern design. I’ve printed out about a dozen possible patterns and scaled them up in various sizes. (The desktop copier, with its enlargement feature, really comes in handy when you’re playing with pattern and scale.) I’m taping in areas of pattern across the composition, but finding that on first pass most of the patterns are too busy (too densely figured) and not working together as smoothly as I had hoped. Will put this aside now and come back to it with fresh energy.</span></div>
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</div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-62307236944859986992012-01-29T03:14:00.000-08:002012-01-29T10:13:27.606-08:00December 22, 2011 -- Inspiration Feeds the Creative Soul<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">I recently returned from a trip to Los Angeles
where I had a chance for the first time to visit The Getty Center and the
Norton Simon Museum (in nearby Pasadena). Actually, it was quite an
art-intensive trip, with additional stops at the Santa Barbara Museum of Art and
time spent visiting some interesting contemporary galleries in the Bergamot
Station area of Santa Monica.</span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">Many art aficionados have made the pilgrimage
up the hill with sweeping views of L.A. to the Getty Center, designed with
modernist precision by architect Richard Meier. The museum and art research and
conservation center opened in 1998 to house the vast art collection of oil
billionaire J. Paul Getty. (Another Getty museum in Malibu concentrates on
treasures from ancient Greece and Rome.) It was a gorgeous day, sunny and crisp,
and as tempting as the art was, we found the setting—with its dazzling
architecture, landscaped plazas, and shallow fountains, and carefully designed
gardens—as much a draw as the art. <a href="http://www.getty.edu/">http://www.getty.edu/</a></span><span class="MsoHyperlink" style="font-size: x-small;"><o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAMZWggIErLJN6k8qRBCiVD61qNhWyoIT7RRLcmBJjSE1KJwoqtIkyRpclBhDqji_HFhtlyFZGo1MI_MNkrBZG66R5nGbh_75c4qPlD8JiesZqVQQDEb7lEAG02HwLzbjVrClk85Tezxs/s1600/Getty+Fountain.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAMZWggIErLJN6k8qRBCiVD61qNhWyoIT7RRLcmBJjSE1KJwoqtIkyRpclBhDqji_HFhtlyFZGo1MI_MNkrBZG66R5nGbh_75c4qPlD8JiesZqVQQDEb7lEAG02HwLzbjVrClk85Tezxs/s400/Getty+Fountain.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Scene from the Getty Center campus</span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">As much as I enjoyed the permanent collection,
of which we saw only a fraction, the highlight of the afternoon, at least for
me, was the temporary exhibition, </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><b style="mso-bidi-font-weight: normal;">Pacific
Standard Time,</b></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"> highlighting modern art in L.A. between 1945-1980. (The PST installation
at the Getty was just one of several contemporaneous shows covering this period
at museums across Southern California.) Happily, there was a strong emphasis on
materials-based work throughout the show, and I was fascinated to see how
artists coming out of CalArts and other California conservatories, inspired by new
technologies and post-WW2 materials (like silicone, plastics, space-age ceramics,
and slick paints), advertising images, the car culture, and a feeling for
unlimited space, made groundbreaking large-scale work that bore little
resemblance to what was going on in NYC during the same period. So cool.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilPdrduweaCgqo7tMe2ltdw4D55D9qhRKWIEHiOeByGRRE1HLibba3jCHyeoaXcTwa5-gBZmBA9WcVzlrEB0Zxs0Vk11p3jC8xAZsgWZtHnC2_Xb5fyx-SecDefLFKXL03c7d8OYLXrN4/s1600/PST+poster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilPdrduweaCgqo7tMe2ltdw4D55D9qhRKWIEHiOeByGRRE1HLibba3jCHyeoaXcTwa5-gBZmBA9WcVzlrEB0Zxs0Vk11p3jC8xAZsgWZtHnC2_Xb5fyx-SecDefLFKXL03c7d8OYLXrN4/s400/PST+poster.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Poster for <i>Crosscurrents,</i> the PST installation at The Getty Center</span></td></tr>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Two days later, we drove to Pasadena to spend a
day at the Norton Simon Museum. This collection, too, reflected the taste of a
single individual: California industrialist Norton Simon, who came to
appreciate and collect art only when he reached middle age. But by then he had
the fortune to support his appetite, and his appetite was legendary. He
specialized in European (14<sup>th</sup> to 18<sup>th</sup> centuries) and
American art (19<sup>th</sup> and 20<sup>th</sup> centuries), and his vast
wealth enabled him to acquire only the best in every category. In 1964 he
bought the historic Duveen Brothers Gallery in NYC—lock, stock, and barrel—to
get his hands on its storied holdings. At the end of Simon’s life (he died in
1993), he expanded his focus to include South and Southeast Asian art,
and these pieces became an important feature of the collection. An exquisite
sculpture garden with works by Rodin, Henry Moore, Maillol, Picasso, and others
rounds out the visitor experience.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozz3mE-NIGwvn8DuQd0vbld4bkIsp2Ka3MVB2by-b6UgghhyphenhyphennRK-SPu5-ij4B6ZrN7J4MjfzAdfzv1SpA2XzTvv3y4UIV_wfqCAgvcDZ0iVbBfjOoi03Y57cNyxftD3g8hyiVNRm-M_0/s1600/Norton+Simon+Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozz3mE-NIGwvn8DuQd0vbld4bkIsp2Ka3MVB2by-b6UgghhyphenhyphennRK-SPu5-ij4B6ZrN7J4MjfzAdfzv1SpA2XzTvv3y4UIV_wfqCAgvcDZ0iVbBfjOoi03Y57cNyxftD3g8hyiVNRm-M_0/s400/Norton+Simon+Museum.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Approaching the entrance to the Norton Simon Museum, past a casting <br />of Rodin's <i>The Burghers of Calais</i></span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">I have to say that spending the day making my
way through this lovely museum, with its spacious, well-lit galleries,
accompanied by an excellent audio guide, has been one of the great pleasures of
my art-loving life. I cannot wait to return and spend time in the Asian
galleries. The paintings are simply superb: early European masters like Memling
and Bellini; 17</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><sup>th</sup></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">-18</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><sup>th</sup></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"> century greats like Rembrandt
(there are three!), Zurburan (including a magnificent still life with strong religious overtones), Tiepolo, Rubens; the most significant collection
of Impressionist and post-Impressionist work on the West Coast, including a vast
array of work by Degas; and an impressive showing of 20</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><sup>th</sup></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"> century
Modernism, including masterpieces by Picasso, Giacometti, Calder, Jawlensky,
Kandinsky, Brancusi and others. </span></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><a href="http://www.nortonsimon.org/collections">http://www.nortonsimon.org/collections</a></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">The painting that made my heart stop filled the final gallery on the main floor, a gigantic Sam Francis multi-panel
abstract installation known as the Basel Murals. The scale, luminous color, and
energy of these paintings is beyond my power to describe. It seemed to me something that could only have been painted by a Californian. For a taste of what I
saw, click here: <o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">In a state of euphoria after spending time with
the Francis, I literally floated into the museum store just before closing,
where I happened upon a Dutch book on Japanese patterns. My creative juices
were flowing, so it was easy to be swept away by this delightful book, filled
with Japanese-inflected imagery suggested by the natural world. Suddenly I
could envision a multi-panel mosaic featuring an assortment of these patterns
across a multi-panel format in the style of a Japanese folding screen. My next mosaic
project took shape in my mind’s eye.</span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Have you ever entered an unfamiliar art museum, encountered something extraordinary there, and emerged transformed, with a deeper understanding of something essential? Please share your experience. </span></div>
</div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-47842630309970445102012-01-28T12:22:00.000-08:002012-01-29T10:16:18.380-08:00December 14, 2011 -- Mosaic Where You Least Expect It<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Spotted in the back room of an art gallery at
Bergamot Station in Santa Monica, CA. </span></div>
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<span style="font-family: Arial;"><br /></span></div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-68552364871698504932012-01-28T12:20:00.000-08:002012-01-29T10:16:26.125-08:00December 9, 2011 -- Where the Sand Meets the Sea selected for MAI 2012<div style="text-align: justify;">
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Happy day! I was just notified that my mosaic triptych, </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><b><i>Where the Sand Meets the Sea,</i> </b></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">created over the summer for Capital Health Medical Center–Hopewell, has been selected for exhibition in SAMA’s “Mosaic Arts International 2012,” large-scale/architectural category, held March 1–April 30 at The Lexington Center Museum and Gallery, Lexington, KY.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: x-small;"><i><b>Where the Sand Meets the Sea,</b></i> a triptych, overall 30 in. H x 66 in. W, ©2011 RHMA. </span></td></tr>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">This mosaic was adapted from a design seen in a metal gate at Buddhist University in Kyoto on a visit to Japan last year.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">This is the fifth time since 2003 that one of my mosaics has been juried into SAMA's international exhibition. Since the mosaic is permanently installed at the new hospital, it will be represented in the show by photographs of the work.</span></div>
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</div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-66970481417584153832012-01-28T12:00:00.000-08:002012-01-29T10:16:35.056-08:00November 29, 2011 -- The Khan Academy<div style="text-align: justify;">
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Here’s a fantastic web resource I stumbled across yesterday: Khan Academy. Check it out at </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><a href="http://www.khanacademy.org/"><span style="color: #074de6;">http://www.khanacademy.org/</span></a></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">I first investigated the site after hearing about its amazing art history tutorials with excellent close-up videos of the painting/sculpture/etc. (by period, by movement, by artist, work by work). Then I discovered this morning that art history is only ONE of the subjects covered in the online academy.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">There’s a library of over 2,700 videos (and growing daily), featuring bite-sized lessons on subjects ranging from mathematics, chemistry, and physics to finance, history, and test prep. It’s a perfect set-up for individualized learning “when you want, at your own pace.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">On the website you can scroll a list of subject categories and topics and sample a few lessons. </span></div>
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<span class="Apple-style-span" style="font-size: x-small;">I bet you'll want to bookmark the site, return to it often, and pass it along to friends and family, as I did. It's great for students of all ages, especially lifelong learners like me. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Whether you're just curious about something, want a clear explanation of a topic you've read about in the news, need to brush up on algebra or physics or review for a test, or want a broad overview, you'll find it there. It's really amazing. The lessons are short, concentrated, and delivered with lots of visual aids. In the works: programming in other subjects.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Salman Khan, the founder, is a former Silicon Valley guru who cashed out and is on a mission to educate the world--particularly in third-world areas where access to quality education is limited. The academy has received a lot of press. You can see the interviews with PBS, NPR, and major commercial networks on the site. Here's one:<o:p></o:p></span></div>
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</div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-60312317954430768052012-01-28T11:51:00.000-08:002012-01-30T13:09:53.593-08:00October 6, 2011 -- Going Radical with Kelley Knickerbocker<div style="text-align: justify;">
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; line-height: 20px;">I've been a fan of Seattle mosaicist Kelley Knickerbocker since 2008, upon seeing her dazzling and dimensional </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; line-height: 20px;"><b><i>33<sup>o</sup>F</i></b></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; line-height: 20px;"> in SAMA’s Mosaic Arts International exhibition, held that year in Miami. </span></span></div>
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<tr><td class="tr-caption" style="font-size: 12px; text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><i>33F</i>, by Kelley Knickerbocker, 2007, 17 in. h x 18.5 in. w;</span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;">glass, mirror, smalti. Used with permission. </span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #333333; font-family: Arial,Tahoma,Helvetica,FreeSans,sans-serif; line-height: 20px;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;">
</span></span><span class="Apple-style-span" style="color: #333333; font-family: Arial,Tahoma,Helvetica,FreeSans,sans-serif; line-height: 20px;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;">So when I heard she was coming to Doylestown, PA (just an hour away from my home) to teach a Labor Day weekend workshop called <i>Radical Dimensions in Glass Mosaic</i>, I signed up immediately, eager to learn her stacked glass techniques. The experience did not disappoint. The workshop combined a lecture and slideshow of Kelley’s work (Friday evening), followed by two full days of demos and hands-on practice. Our host was Katia McGuirk, whose tile studio classroom provided the perfect environment for our group, many of whom drove up from Philadelphia.</span></span></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; font-size: x-small; line-height: 20px;">Kelley had recently been on a buying spree at Youghiogheny Glass and brought with her an inspiring assortment of matte-finish translucent and textured architectural glass, perfect for layered mosaic making. She demo’d three techniques she had developed and used in her own practice:</span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; line-height: 20px;"><i>Flat Stacking</i></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif; line-height: 20px;">, in which stained glass is layered atop itself for unique color blending and 3-D effects;</span></span><span class="Apple-style-span" style="color: #333333; font-family: Arial,Tahoma,Helvetica,FreeSans,sans-serif; line-height: 20px;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><span class="Apple-style-span" style="font-size: x-small;"><i><br /><br />Edge Stacking</i>, in which clear, opaque, and translucent stained glass strips of varying heights and lengths are stacked on edge to reveal their beautifully striated riven edges;<o:p></o:p></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">A generous and attentive teacher, Kelley circulated among the group, instructing, guiding, and encouraging each student. Like the true wonks we are, we reveled in the chatter about tools, adhesives, and techniques, picking up lots of pointers along the way. Jokes flew and there was some happy munching on artisan pizza. Most of us were able to complete at least two mosaics during the weekend. Here are mine:<o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-size: x-small;"><i><b>Skating the Spine</b></i><br />©2011 RHMA</span></div>
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<i><b>Moon Over Vermont</b></i></div>
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</span></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">On Sunday afternoon Kelley offered a critique of our work, and I think we were all astonished at the variety and imagination we had brought to the task.</span></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana,sans-serif;"><div class="MsoNormal">
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<span class="Apple-style-span" style="font-size: x-small;">For me, a workshop like this one provides a chance to shake my perceptions, break old habits of working, experiment with unfamiliar materials, and learn some very cool new techniques, some of which may find their way into future work. I had been busy much of the year on a mosaic commission that called for nine mosaic landscapes—highly detailed representational work—and so it was a real treat to be able to step away from that mindset for a couple of days and enter a world of abstraction and pure color. I came back to the studio on Monday refreshed and inspired and rarin’ to go.<o:p></o:p></span></div>
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</span></span>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-11945765228781052322012-01-28T11:48:00.000-08:002012-01-29T10:16:42.267-08:00September 23, 2011 -- Mosaics Delivered to Capital Health Medical Center<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Big day! The final group of mosaics—15
abstracts—commissioned by Capital Health Medical System are complete and swathed
in layers of bubble wrap. They will be loaded into my Subaru station wagon and
delivered today to the new state-of-the-art hospital in Hopewell, NJ where they
will await installation by art consultant Lin Swensson and her team of
professional art installers.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaBp3moL7HSy9kNU-aIS0ZOGs2Ay79EyLcWiNnJPvPQozqDrA5Zczq0nj491LkKKvxE54bTZteZA8iIGkClUkFPYpyFqsCjLEltrMwGHf10EVxl6hdSr8H3HOSej48jFXsKS0VluWX-fg/s1600/Delivery+of+mosaics+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaBp3moL7HSy9kNU-aIS0ZOGs2Ay79EyLcWiNnJPvPQozqDrA5Zczq0nj491LkKKvxE54bTZteZA8iIGkClUkFPYpyFqsCjLEltrMwGHf10EVxl6hdSr8H3HOSej48jFXsKS0VluWX-fg/s320/Delivery+of+mosaics+.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">My logistics manager wheeling seven of the abstracts to the hospital door.</span></td></tr>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">The first group of mosaics to be finished—nine
panels depicting New Jersey landscapes–were delivered in August and are already
hung in the Adult Emergency Room Waiting Area.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;"><b><i>New Jersey Landscape Suite</i></b>: this grouping installed on the left. ©2011 RHMA.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicRNjmj7kPSMxhFzBx9D_NvHG-KBj6ygUW04xneMxOBaBMn4TG-yUKuYHZSpSH8T7laHmVC7nGN1gKOegSuikHJeIU9g8628ZP1rhgYnqFq3Jsrbs2TS6PL9NRyD5EWWycDL0hpEu6TeU/s1600/NJ+Landscape+Suite+B+installed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicRNjmj7kPSMxhFzBx9D_NvHG-KBj6ygUW04xneMxOBaBMn4TG-yUKuYHZSpSH8T7laHmVC7nGN1gKOegSuikHJeIU9g8628ZP1rhgYnqFq3Jsrbs2TS6PL9NRyD5EWWycDL0hpEu6TeU/s400/NJ+Landscape+Suite+B+installed.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;"><i><b>New Jersey Landscape Suite</b>:</i> this</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;"> grouping installed on the right. ©2011 RHMA.</span></td></tr>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Today's delivery completes the commission. There
is one single-panel mosaic, one diptych, and four triptychs. Six of the panels
were purchased from existing inventory, but in each case, I was asked to
enlarge the composition by adding one or two new panels. All told, the
commission represents ten months of steady studio work with very few breaks. Given
the amount of variety in the assignment, it was a real joy from start to
finish.</span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">I feel fortunate to have my work so well
represented in a new hospital in my own community where it will be a meaningful
addition to the healing environment. It is a particular honor to have my mosaic
<b><i style="mso-bidi-font-style: normal;">Flow
</i></b>installed as the artistic focal point in the hospital’s inter-faith
chapel. I believe that original art in medical settings can play a powerful
role in creating a soothing, stress-reducing environment for patients, their
family members, and staff and applaud the hospital’s visionary leadership in
seeking out original work by almost 80 local and regional artists from New
Jersey and Philadelphia. <o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIL_fm2ecQM4bbb-RM70vMgQHwThA8NklVLoM5_9VW1WLqLX72VCpTfv5w1g2s17EmNYrlgIfjYwX602zQjsKSxH0_gaZaunS09eo0r5HMXEuANYWRytd0RFsnv7Rad72G6LtMlSepbns/s320/Flow+(low+res).jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><b><i>Flow,</i></b> 32 inches square, in handout opaque, iridescent, and metallic glass, ©2011 RHMA.</span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;"> </span></td></tr>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">November 6<sup>th</sup> is the official opening
day for Capital Health Medical Center–Hopewell, but there will be community
open house events throughout October to give the public a sneak peek of the new
facility, equipped with all the latest medical technology in a LEED-certified
“green” building. With its soaring architecture, cozy seating areas, walls of
windows, healing gardens, and private patient suites, people are likely to
think they’ve entered a contemporary luxury resort, not a traditional hospital.
It was exactly the impression Capital Health sought to create: “ an environment designed
to calm and comfort, heal and nurture, protect and support.” The
hundreds of paintings, sculptures, mixed media panels, and sculptures featured
throughout the public spaces and patient rooms certainly enhances that
impression. </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><a href="http://www.capitalhealth.org/donate/campaign/hopewell">http://www.capitalhealth.org/donate/campaign/hopewell</a></span><span class="Apple-style-span" style="font-family: Arial;"><o:p></o:p></span></div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0tag:blogger.com,1999:blog-2385377904138112824.post-29453455792020925052012-01-26T10:46:00.000-08:002012-01-29T10:01:28.316-08:00August 16, 2011 -- Brain Food<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">I don’t know about you, but one of the major
benefits of being a working artist whose practice calls for spending hour after
hour, day after day, in a basement studio is the chance to read…or to be read
to, to be more exact. I’m talking about audiobooks, and since becoming a
full-time mosaic artist in 2001, I estimate I’ve listened to hundreds of titles,
many more than I could have pored through in book form. For a one-time English
major, the prospect of getting on with the next chapter of a great novel or a
fascinating biography is enough to pull me down to the studio even when fatigue
or distractions argue for calling it a day.</span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">Literary classics—particularly the novels of Dickens,
Edith Wharton, and Henry James—are a favorite, as well as well-written works of
contemporary fiction like those by Philip Roth, Tom Wolfe, and Ian McEwan. I’m
crazy about Southern writers, and for a long time I was deep into books about
the harrowing lives of broken girls who overcame adversity (like <i style="mso-bidi-font-style: normal;">Bastard Out of Carolina, The Secret Life of
Bees</i>, <i style="mso-bidi-font-style: normal;">The Liars’ Club</i>, and <i style="mso-bidi-font-style: normal;">The Glass House</i>). Since I love theater,
I sometimes listen to a cast recording of a Shakespearean play. Current events is
good for a change-of-pace, particularly if it affords a behind-the-scenes look
at politics, another passion. I also appreciate a good novel that plunges me
into a new culture and helps me understand a place I’ll likely never visit,
like Afghanistan, Iran, or India. (Well, I do hope to get to India one day.) </span><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Two audiobooks, New York Times bestsellers, waiting in the studio.</span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">I’ve never been a fan of chick lit or densely
plotted mysteries or spy thrillers, so I steer clear of those. There’s been a
good crop of medical novels in the past couple of years—in particular, </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><i style="mso-bidi-font-style: normal;">The Immortal Life of Henrietta Lacks</i></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"> (Rebecca
Skloot) and </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><i style="mso-bidi-font-style: normal;">The Emperor of All Maladies</i></span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">
(Siddhartha Mukherjee).</span></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">When I enjoy an audiobook as much for the
expert narration as a riveting storyline, I may listen to it more than once. My
all-time favorite is the Evelyn Waugh classic <i style="mso-bidi-font-style: normal;">Brideshead Revisited</i>, narrated by (or I should say <i style="mso-bidi-font-style: normal;">enacted by</i>) Jeremy Irons. I finally
purchased this audiobook so I could enjoy it bi-annually. I believe I could
listen to Jeremy Irons read the phone book and be mesmerized. His narration of <i style="mso-bidi-font-style: normal;">Lolita</i> by Vladimir Nabakov is also
masterful. </span><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfFfTT1wBqMPXWC2pT_yEKQqfHY0xdMFHq2935zs4m6eQh9DBRMur_wwUVYBiusK4r-A6jgEr67V2h04-jKCQKjufHisYV3QwHVJBIe90a5Vjv2ZwHi6qFl0lO9s_A0s7X564W54s320/s1600/Audiobook2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfFfTT1wBqMPXWC2pT_yEKQqfHY0xdMFHq2935zs4m6eQh9DBRMur_wwUVYBiusK4r-A6jgEr67V2h04-jKCQKjufHisYV3QwHVJBIe90a5Vjv2ZwHi6qFl0lO9s_A0s7X564W54s320/s320/Audiobook2.jpg" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">My all-time favorite audiobook, narrated by Jeremy Irons.</span></td></tr>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;">Each week I scan the New York Times Book Review
for promising titles and keep a running list. It took me about three years to move
through the shelves of audiobooks available at our local library and its
branches, and having exhausted that free source, I now subscribe to a service
that sends me a new book once a month, or more often when I am deeply into
mosaic work and working on deadline to finish a project. </span><span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif;"> </span></span></div>
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<span class="Apple-style-span" style="color: #274e13; font-family: Verdana, sans-serif; font-size: x-small;">Sometimes people will ask whether I get lonely
working in the basement all day, and sometimes into the night. Never. Once I’m
past the design phase of a new mosaic, the process of cutting and placing of
glass becomes almost meditative. That’s when I start the tape or CD, and I’m
off, lost in a good book. </span><span class="Apple-style-span" style="font-family: Arial;"><o:p></o:p></span></div>
</div>Writing Between the Tileshttp://www.blogger.com/profile/12555958797824354912noreply@blogger.com0