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2017 Mosaic Arts International
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Mosaic Arts International 2017 Presented by the Society of American Mosaic Artists Held in conjunction with the 16th Annual American Mosaic Summit Detroit, Michigan
Mosaic Arts International: Fine Art and Invitational April 27 – June 15, 2017 Janice Charach Gallery, Jewish Community Center of Metropolitan Detroit
Invitational Artist Verdiano Marzi, Paris, France
Jurors Gary Drostle, London, United Kingdom Shug Jones, Garland, Texas, USA Sergio De Giusti, Redford Township, Michigan, USA
Mosaic Arts International: Site-Specific April 27 – June 15, 2017 AmericanMosaics.org
Juror Susan Goldberg, AIA, Florida, USA
Janice Charach Gallery, Jewish Community Center of Metropolitan Detroit Kelly Kaatz, Gallery Director
SAMA President, Exhibitions Committee Chair Jacki Gran
SAMA President, Exhibitions Committee Chair Jacki Gran
Conference Host Committee Chair Joan Schwartz
SAMA Executive Director Dawnmarie Zimmerman
Catalog Cover Mosaic: Toyoharu Kii
I N T R O D U C T I O N
Introduction Jacki Gran, President, Society of American Mosaic Artists The 16th Annual Mosaic Arts International Exhibition (MAI) series, sponsored by the Society of American Mosaic Artists (SAMA), is a creative, innovative, and diverse collection that offers a unique and compelling view of mosaic art in the twenty-first century. The selected works of the MAI Fine Art Exhibition reflects the multiplicity of the mosaic medium and its unlimited applications. Regardless of the style, colors, textures, materials, or vision, each of the works exhibited speaks an ancient language with a contemporary translation. Gary Drostle, Sergio De Giusti, and Shug Jones were the exceptional jurors for this exhibition. Each juror carefully and conscientiously reviewed the many entries submitted, examining each entry to identify work that was original, fresh, distinctive, and technically excellent. We expect their selections will broaden the understanding of mosaic art to the hundreds of visitors expected at the Janice Charach Gallery during the exhibition. The MAI Site Specific segment of Mosaic Arts International series will be presented to the attendees of the American Mosaic Summit on May 3, 2017, in a presentation by exhibition juror, Susan Goldberg, AIA. The exhibition will also be featured in a special image gallery on SAMA’s website, americanmosaics.org. The MAI Invitational segment of Mosaic Arts International series presented at the Janice Charach Gallery, will feature the work of internationally recognized mosaic master, Verdiano Marzi, in a spectacular collection of color, texture, and provocative materials that will inspire and delight viewers. We would like to thank the Detroit Host Committee Chair, Joan Schwartz, and the Mosaic Artists of Michigan. Their tireless effort to bring SAMA to the exciting city of Detroit with the assistance of our Conference Manager, Chris Forillo; Volunteer Coordinator and Board Secretary, Donna Post; and Executive Director, Dawnmarie Zimmerman, is greatly appreciated. Thank you to SAMA’s generous sponsors, individual members, and corporate donors, whose valuable contributions make it possible for us to bring you the exhibitions and conferences that our members have come to expect and appreciate. And finally, our heartfelt thanks to the SAMA members who volunteer their time and energy to sustain and fortify this organization of varied cultures, viewpoints, talents, and visions. Together, we are the tesserae that create the mosaic that is SAMA. 2
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Mosaic Arts International 2017 Masters Invitational Artist Exhibition April 27 – June 15, 2017 Janice Charach Gallery Jewish Community Center of Metropolitan Detroit
Verdiano Marzi, Paris, France
Pierre Marie Lejeune often uses letters, signs, figures and symbols in his art. The “Ω” is very emblematic. It is the last letter of the Greek alphabet: the “letter which contains all the other letters.” He states: “What interests me is the transition from a spoken language to a written language. How does a figurative drawing, illustrating or representing a real thing, become a sound? The symbol of this sound becomes, thereafter, a completely abstract letter. The sculpture creates reality from abstraction. The use of mirror, on the other hand, inverses and fragments reality.”
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2017 Masters Invitational Artist Exhibition Preghiera Prayer 2016
Verdiano Marzi Paris, France
H 40.00� W 60.00� D 1.00� Smalti, stone, flint, dalle de verre Why white mosaic? Many people have asked me this. I answer that by using only white marble, we can better see the character of the tesserae. The effect of light and shadow are especially enhanced with the exclusive use of white tesserae. I believe tesserae are a most important element of mosaic, which renders it different from almost any other medium of art, so I try to use them in the most attractive way. Besides, in order to express something using only white, I need to devise various arrangements of tesserae. Excluding color makes creating images more difficult, yet I love this process of making mosaic. If my work gives other mosaic artists any inspiration, I can assure myself that these attempts were worth it.
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J U R O R S ’
S T A T E M E N T S
Juror’s Statement Gary Drostle, London, United Kingdom Judging the Mosaic Arts International was both a joy and agony. It was an inspiring experience for me to look through the entrants for the 2017 exhibition and a wonderful reminder of the richness and variety of mosaic art now. I hope viewers of the exhibition and its legacy in the catalog will be equally inspired by this art form, and if they are mosaic makers themselves, feel moved to push forward to further improve and develop their own work. I have no doubt that Mosaic Arts International is a positive force for the improvement of contemporary mosaic practice in the world. Arriving at the eventual selections was the agonizing part and I am thankful for the guidance and input of the other jurors, Shug Jones, and Sergio De Giusti. I believe the selections we have settled on reflect the energy of contemporary mosaic art and, while not a definitive survey, they should offer an important benchmark for where our medium is, and where it still has to go. For those who entered but were not chosen, I hope they will find works in the exhibition that will fill them with inspiration and determination to continue and grow as artists. For my part, I wanted to focus on a number of qualities in selecting works, the most important of which was the individual artist’s voice and the feeling of a clear communication of the artist’s intent. To a certain extent, this is a personal opinion—how the work touches me and what it communicates to me. After this vital ingredient comes the technical accomplishment of the work—both artistically and as a mosaic—the use of composition, scale, and design added to the mastery of the vital qualities of mosaic: use of broken color, texture, andamento, and placement in the setting bed. I think the award winners admirably demonstrate these aspects. Celebration, by David Chidgey, won the Technical Distinction Award because of the precision of the work and the sheer beauty of the composition and coloration—here we have a work that sings out and takes our eyes on a journey of harmony and excitement. The more still, but vibrating work by Scott Fitzwater, Diversity Gradient III, is worthy of the Contemporary Innovation Award for its creative use of tesserae and setting bed, which creates a tension that seems to buzz in the way a Rothko painting does. It is perhaps interesting that there are relatively few figurative works in this selection and the abstract works are dominated by works of a similar nature. These exist very much on the shallow plane of the surface and focus on texture, flow, and restricted palette. From my point of view, this is a collective representation of where the art of mosaic is at this moment in time, exploring itself as a surface, coming to terms with the medium, and experiencing the influences of masters, such as the artist, Toyoharu Kii. It is significant that Toyoharu Kii is the only artist with two works in the show—one winning the Best in Show Award (Ritual Contact) and the other, the Juror’s Award, (Abandoned Land) from myself. These are the works of an accomplished master who has both a unique and powerful voice, which resonates with his Japanese cultural heritage and a deep understanding of the traditions of mosaic. He continues to push the boundaries of contemporary mosaic art, exploring the true essence of what a mosaic is. It is difficult not to stand in front of these pieces in awe.
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Juror’s Statement Sergio DeGiusti, Detroit, Michigan, USA I was honored to be invited to jury the 2017 Mosaic Arts International Fine Arts Exhibition. The great variety of submissions made it a pleasure for me to select works that dealt with the traditional elements of mosaic art, abstractions, assemblages, and new materials that reflect methods that are modern, yet hold onto the history of this great, ancient art form. Most of the works were well crafted and clearly defined in their image making. I was drawn to simpler abstract works in my choices along with some of the traditional representational figurative works. I was less drawn to busy compositions that were overly embellished and decorative. Jurying from a computer screen was difficult and sometimes required extra care in deciding the merit of the works. Also, I found giving top awards to be a pressure-filled, anxiety-inducing event. I know how hard it is for artists to not be included when they have worked so hard in creating their entries. I would have preferred to award prizes from viewing the actual objects, but since it was not possible, I tried very seriously to select the most worthy submissions. There will always be controversies and various judgments made with any juried art shows that reflect an individual’s subjective direction or taste. Each show has a personal imprint. I would like to thank Gary Drostle of the UK, and Shug Jones of Texas, for their knowledge and insight of the mosaic art form, and their views and opinions that were extremely helpful to me. Our views were well defined and we had a mutual aesthetic awareness of what characterizes outstanding work and our choices of the prize winners. Again, thank you for allowing me to be one of three jurors to select this exhibition, which will give the public a wonderful opportunity in our region to learn and see the creative contributions of artists in this very unique art form.
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Juror’s Statement Shug Jones, Garland, Texas, USA It was an honor for me to be part of the jury panel for the 2017 Mosaic Arts International Exhibition, and I want to thank the SAMA Board of Trustees, the Exhibitions Committee, and Executive Director, Dawnmarie Zimmerman, for putting their faith in me to help select the exhibition. Overall, I felt the body of work submitted was extremely well thought out, showed a depth of knowledge of mosaic art, and was executed with skill and an eye to communicating to the viewer, each artist’s personal vision. As wonderful as it was to have such a large field of quality work from which to choose, it made for a brutal weekend of examination and difficult decisions. I believe in the end that my fellow jurors, Gary Drostle, Sergio De Giusti, and I have selected a collection of art which pushes the boundaries of the ancient language of mosaic, introducing contemporary issues, complexity of thought, and clarity of ideas. As a mosaic artist, I am always interested in seeing how others work in our selected art medium. I ask myself, why did this artist choose these materials for this specific composition, why did he/she cut the tesserae in this manner, what influenced the andamento? In doing so, I find myself learning from each and every work and marveling at how beautifully the elements come together to create a provocative piece of art. As a result, I am inspired to push limits in my own art, trying new techniques, new materials, questioning what has come before, and expanding my treasury of possibilities. Our choice for Best in Show was Toyoharu Kii’s Ritual Contact. Created entirely of white tesserae on a white base, it is a visual feast of texture, patterns, incredibly precise cuts, and complex execution. His mastery of the material and medium is evident in his use of interstices as part of the design and the reverence evoked by the sum of its parts. David Chidgey’s Celebration was the panel’s selection for Technical Distinction. I felt the mosaic was aptly named as it virtually broadcasts jubilance, cheer, and delight. The carved terra-cotta pieces woven throughout create a visual tension, causing the smalti to appear to be bursting through the seams to escape. The Contemporary Innovation Award went to Diversity Gradient III by Scott Fitzwater. This piece pushes the envelope of mosaics, challenging our traditional understanding of the medium while using only slate, thinset, and a very limited color palette. The struggle that takes place between the two colors left me rooting for the red to prevail and not be dominated by the black. My Juror’s Award went to Long-awaited by Deb Englebaugh. I was drawn to the soothing colors and responded to the textures created by the intermingling of the tesserae and the stamped designs on the mottled surface of the clay. There was an energy created by the interaction between the clay, stone, and glass that I found fascinating. The broken slabs and distressed central area, along with the random layering of materials lent a sense of the passage of time. Congratulations to all the award winners, as well as the artists whose work was selected for the exhibition. I also want to congratulate ALL the artists who submitted work for consideration. It is very difficult to put your work out there to be judged by others. As artists, we think of our work as part of ourselves. It is sometimes impossible to separate the two. We think: if they don’t like my work, they don’t like me. Let me stress that not being selected for this particular exhibit is no indication that your work—and, therefore, you—are not good enough. There were only so many pieces that could be chosen and so many more worthy of being exhibited. 13
2017 Best in Show Ritual Contact 2016
Toyoharu Kii Tokyo, Japan
H 29.00� W 7.00� D 1.00� Marble Why white mosaic? Many people have asked me this. I answer that by using only white marble, we can better see the character of the tesserae. The effect of light and shadow are especially enhanced with the exclusive use of white tesserae. I believe tesserae are a most important element of mosaic, which renders it different from almost any other medium of art, so I try to use them in the most attractive way. Besides, in order to express something using only white, I need to devise various arrangements of tesserae. Excluding color makes creating images more difficult, yet I love this process of making mosaic. If my work gives other mosaic artists any inspiration, I can assure myself that these attempts were worth it.
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2017 Contemporary Innovation Diversity Gradient III 2017
Scott Fitzwater Portland, OR
H 20.50” W 30.00” D 1.00” Slate, thinset, handmade substrate This is the third piece in the Diversity Gradient series. The diversity of species dramatically increases as one travels from the earth’s poles (low diversity) to the equator (high diversity). In spite of an expansion of diversity, species’ populations become smaller, more isolated, and, as a result, increasingly susceptible to rapid environmental fluctuations. Human-caused changes are impacting these small populations of species in the equatorial regions. They are disappearing rapidly—some without ever being discovered. Unless we quell escalating human-caused trends of harmful species migration, atmospheric CO2, weather severity, increasing temperatures, and ocean acidification, humans will witness massive species extinctions
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2017 Technical Distinction Celebration 2016
David Chidgey San Antonio, TX
H 23.00” W 14.50” D 1.50” Smalti, gold smalti, carved terracotta
Celebration reflects a return to feeling alive and ready to celebrate life following the loss of our youngest daughter, Sarah. Materials like clay help to express a primal rawness, contrasting the polished and colorful smalti—a cycle of life. This is a tapestry of life, reflecting healing, exploring new possibilities, renewing dreams, and celebrating life, itself. As I broke the pieces for this work, I recalled the words of Anthem by Leonard Cohen: “Ring the bells that still can ring Forget your perfect offering There is a crack in everything That’s how the light gets in.”
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Juror’s Choice: Gary Drostle Abandoned Land 2016
Toyoharu Kii Tokyo, Japan
H 22.00” W 20.00” D 1.00” Marble, crystal This work is part of my series of expression I am making under the theme of “destruction and construction.” We need to destroy the land before making roads and buildings in order to live. After development is over, we abandon the land— it is no longer useful to us. I cut the surface of mosaic and break some parts of the tesserae. I always try to show the three-dimensionality of tesserae, which is the most important component of mosaic and which gives it character and specific expression.
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Juror’s Choice: Sergio De Giusti Intersection 2015
Pauline Mills Lubbock, TX
H 18.00” W 18.00” D 2.00” Wood, metal, glass Art is my drug of choice, my daily high. Tesserae are how I achieve the euphoria! I am a forager, a picker, and a scavenger of discarded objects. I have a substantial stash and I am not afraid to use it! (For inspiration!) Intersection represents a conscious change in how I create mosaics—a shift away from representation. At a SAMA conference, Karen Ami told me to “use my words.” I had received my challenge. This piece is the result of that urging. I enjoy the juxtaposition of opposites—metal against wood, shiny next to dull, nature beside manufactured. This piece was a yearlong metamorphosis of my process. The struggle was monumental but I pushed through it and am proud of the results.
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Juror’s Choice: Shug Jones Long-awaited 2017
Deb Englebaugh Mercer, PA
H 18.00” W 18.00” D 1.00” Pennsylvania sandstone; smalti; handmade, bisque-fired clay; metal The word, “time,” is the most often-used noun in the English language. We cherish time and waste it—sometimes in equal measures. Four short years ago, I was introduced to the hammer and hardie in a Rachel Sager workshop. The lure of foraging and the act of cutting began to define my practice. Years of working in clay, paper, and fiber, and collecting random odds and ends culminated in the discovery of this powerful way of building mosaic from raw material. Time is an undeniable presence in our lives. Deadlines and expectations are foremost on our minds. Long-awaited is part of a series of timepieces. Each timepiece represents recollections of significant moments. The timepieces are never shown as complete structures; like mosaic, they represent parts of a larger whole. The moments are personal but, at the same time, experienced by many. Long-awaited represents that point in time when a long-anticipated event occurs. 19
The Flight to Bethulia 2015
Lilian Broca Vancouver, BC, Canada
H 74.00� W 48.00� D 1.00� Byzantine smalti, millefiori, gold smalti, ceramic tiles on border The uniqueness of smalti and the method required to execute a mosaic are characteristics which strongly appeal to me. I create large-scale mosaics using historical iconography to comment on contemporary societal issues. This mosaic is part of a cycle on the Biblical Judith. By placing all the Judith compositions on white sketchbook pages with perforated tops, and using a transition from the black and white sketch to monochromatic 2D and finally to full color, I portray the gradual rejuvenation of the Judith story through its retelling. Here, an apprehensive Judith and her maid are running back to town after their successful infiltration in the enemy camp, and singlehandedly decapitating General Holofernes, the enemy of the Israelites. Fear and the necessity to hurry are emphasized by the flying scarves and clothes.
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April in Paris 2016
Sandra Bryant Lynden, WA
H 25.00” W 33.00” D 1.00” Glass mosaic For me, mosaic is a form of magic—the process of breaking down large sheets of glass, finding that perfect glass for each small piece, that just-right hue, level of transparency, and surface texture that will speak to what I’m trying to say with this glass “brush stroke.” The medium is always a joy and a challenge, cutting the perfect shape and size tesserae to create that feeling. The overall theme of my artwork is a resolute celebration of this life, our world, our creations, and natural things. April in Paris is a message of wonder— not only in the monuments, architecture, and life of this ageless city—but also of the hope intrinsic in the coming of spring. The glow of the light on the buildings says that we are undaunted by the events of the world.
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American Icon 2017
Kathy Burk Bozeman, MT
H 36.25” W 25.25” D 1.00” Art glass, found objects
American Icon is a mosaic collage comprised of art glass and found objects— a tribute to music, feeling, and invention—all of which surrounds me in my studio. It is framed with 1/8-inch thick, steel angle iron finished in a bronze color to blend into, and protect the glass. American Icon was created in celebration of one of the most popular instruments in America—the standard acoustic guitar. While creating mosaics, I surround myself with music. The notes have the ability to transform my mood and inspire me. I am amazed by the mind of the inventor and wanted to appreciate the instrument differently—pause, and discover the guitar’s construction, individual parts, and artistic details. This piece is a tribute to the persistence of the musician, the art of the luthier, and ear of the listener.
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Monkey Mind 2015
Sandi Burt Cameron Park, CA
H 24.00” W 24.00” D 1.00” Smalti, millefiori, beads, stained glass This mosaic is my visual representation of the state of mind some refer to as “Mind Chatter” or “Monkey Mind.” It is the log jamb of thoughts, ruminating about old stuff or worrying about the future, all of which inhibits us from being in the positive and present moment. The center of the mosaic is a busy, highly textural mash of black and white fragments that represents the mind chatter state. As the mind clears and releases the mash-up, a more pure and balanced state is acquired (outer circles). The lack of a singular, well-defined andamento further supports the intention.
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October 2015
Patty Chapman United States
H 12.00” W 24.00” D 2.00” Smalti, stone, natural stone Layers of Wedi board strips, piastrini, smalti, white gold smalti I was drawn to mosaic art because of the intrinsic beauty of the materials. Smalti and gold smalti are works of art on their own and the challenge for me is finding a subject worthy of the glass. I was not achieving my vision with traditional andamento, so I began using layers of piastrini and smalti, as well as building up some portions of the substrate. When October comes to the mountains, the aspen trees that surround us create a glow that smalti and gold represent so well. By layering various shades and specks of gold, I hoped to impart the dense beauty of the trees with the bright blue sky shining through. The trunks are elevated in order to emphasize that they are as unique and awe-inspiring as the foliage. The layering of the tesserae to create the striking October aspen trees fits my style, which has evolved into “abstract reality.”
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Night Sky Unshattered City Series 2017
Darcel Deneau Novi, MI
H 9.00” W 10.25” D 1.50” Stained glass on wood panel Adversity illuminated the importance of art for me and without hesitation I redirected my life’s journey to the pursuit of painting and earned a BFA from the College for Creative Studies. A native Detroiter, I have been intrigued with painting images of my city for several years, receiving many commissions for my Detroit landscapes which are widely sought by private collectors as well as corporate venues. Recently my interests have turned to painting with glass to create mosaic landscape paintings. The broken pieces of glass and the importance of quality of assembly have brought a deeper level of expression to my landscapes. By building images of Detroit from shattered pieces, I have created a body of work called the Un-Shattered City Series which I hope will serve as a reminder of the city’s past as well as the strength and resilience of the people of Detroit.
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Pine Needles 2016
Christopher Elam Bloomington, IN
H 16.00” W 10.00” D 1.50” Shell, chunk glass, smalti, stone, copper, composite stone I believe that life is sacramental. Somehow divine grace breaks into our world through material and earthly means. Creating mosaics is one of the ways I participate in the sacramentality of life. Through the slow and repetitive process of cutting and setting pieces of glass and stone in mortar— materials made of the basic elements of life—an image comes to exist that speaks back to its maker. I create mosaics because it gives me ample opportunity to discern a thought, an emotion, an experience, an image, or some other curiosity—and then make a tangible expression of it. To me, beauty is another name for this divine grace. As an artist, I cannot determine whether beauty will arrive or not. Instead, the artist—functioning in a kind of priestly role—is in the unique position to try, and try again, to bring about such an encounter. For me, to create beautiful moments, moments of grace—that is the ultimate goal of my work. 26
Selene Vomer Jack with Fossils 2015
Elizabeth Gallery Santa Barbara, CA
H 29.00” W 39.50” D 1.00” Faux fossil of the Lookdown (Selene vomer Jack) fish embedded in Paleozoic Moroccan marble, four hundred million year-old Orthoceras mollusk fossils, Carrara white marble over sculpted EPS Four hundred million years ago, during the Paleolithic Cambrian explosion, ancient mollusks called Orthoceras became fossilized in black marble in Morocco. Today, they form an elegant background for a mosaic of a Lookdown (Selene vomer Jack) fish skeleton, created with white marble from the famous Italian Carrara mines. This ancient mollusk is a nautiloid—a cephalopod that grew up to fourteen-feet long. I pair the mosaic with a Chinese proverb urging patience: “Schools of fish come to those who wait patiently; if the big ones don’t come, the little ones will.” Good advice for an artist.
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Turquoise Door to Anywhere 2016
Etty Hasak Chicago, IL
H 16.00” W 32.00” D 1.25” Reclaimed wood, slate, stone, smalti, metal, copper Combining elements can create a fascinating outcome. I love incorporating found materials that had a previous purpose and redefine them in a new context. These materials are both the inspiration and framework for the dialogue that occurs between them. This work represents my travels along the Spanish Costa Brava. Driving on the winding roads that cut through the majestic Pyrenees, descending toward the sparkling blues of the Mediterranean, I was overcome by the feeling that all is open to the unknown with every turn of the road.
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Continental U.S. 2016
Valerie Hollstein Salt Lake City, UT
H 9.33’ W 15.66’ D 0.17’ Vitreous glass on 5/8-inch plywood with pine finish
Continental U.S. is a project that celebrates 48 states with diverse elements. Weighing approximately four hundred pounds, the mosaic map is divided into 13 individual panels, connected in the back with an aluminum frame. Famous landmarks fill the boundaries of each state, and carry some connection to a larger contextual meaning. No subject dominates, instead, my intention is to draw you along from memorials, which evoked sacrifice and heroism; to iconic structures, such as bridges and buildings; to physical representations of red rocks, coastline, mountains, farmlands, and deserts; to important cultural associations. All reflect the unique facets that are part of the demographic diversity and geographical scale of the U.S. Through these abstract glass images, I hope to bring an appreciation of the rich and complex heritage of our country, perhaps stirring a memory or desire to dive more deeply into it.
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Doorways to Landscape 2016
Caitlin Hughes Winmalee, NSW Australia
H 30.00” W 23.60” D 1.50” Eco, Orsoni, Mexican smalti; unglazed ceramic; Litovi This work draws inspiration from elements of the Woodford Academy, a National Trust property and home to my studio in the Blue Mountains, NSW, Australia. The academy boasts a rich and multilayered history as an inn, sly grog shop, private residence, and boarding school. Built on the harsh route through the mountains, it was a welcome stop for travelers, campers, and prospectors seeking their fortune in the gold fields beyond. Almost unnoticed on the doorways throughout the buildings, are tiny, historical registers of peeling paint. They reveal the layers of color applied to the timber and plaster work over time and reflect the changing palette the building has worn throughout its colorful history. These three mosaic panels simultaneously give glimpses of the textures, colors, and layers of the native Blue Mountains landscape beyond the academy walls, and allude to a passage or journey through the beautiful, but often treacherous, Blue Mountains environment. 30
The City, II 2016
Kate Kerrigan Bend, OR
H 36.00” W 24.00” D 1.00” Stone, smalti, contorni
The City, II is part of my current series, a subset of a larger series called Connected. Wires and utility poles are such ubiquitous characteristics of the both the urban and rural landscape, as we know it— or used to know it—as many wires are being hidden underground. Some may see them as ugly or a nuisance, or not see them at all. To me, they serve as a reminder of how we literally stay connected—wires of communication, transportation, and energy. The lines and patterns they create in the sky, the rhythm and repetition fascinate me. In this particular piece, it is the birds on the wires, a scene so familiar—rather mundane actually—that evokes a sense of calmness and serenity, something we all like to feel in this chaotic “wireless” world.
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Sticks and Stones/ In Flux 2017
Kelley Knickerbocker Seattle, WA
H 15.00” W 19.00” D 1.00” Iridized clear stained glass, twigs, slate, coal, black tourmaline, forge slag, lava rock, tumbled black glass, waste mortar, waste clay, smalti, gold smalti, rusted chain links, Japanese porcelain, horn rings, mortar Curiosity and contrast are the cornerstones of my art. I find difference innately more interesting than similarity, and finding ways of integrating differences more interesting still. Any material is up for grabs as tesserae in my studio, and as soon as I’ve chosen one material, I begin to hunt for opposites that will challenge it, temper it, and enhance it in ways that similar materials cannot. (Mosaic lends itself to some unique contrasts: light tesserae against dark mortar, the juxtaposition of high- and low-relief tesserae [e.g., the sticks/stones and stained glass], refined tesserae [smalti, gold] nestled up to junk [leavings from a blacksmith’s forge, mortar cured in the bottom of a mixing cup, scrap metal from the street], and open space in the midst of densely packed tesserae.) For me, this exploration of critical dissonance is key to balance, wholeness and forward movement in both art and life. 32
The Walk Across the World 2017
Valerie McGarry Bowmanville, Ontario, Canada
H 12.50” W 24.50” D 1.50” Marble, smalti
The Walk Across the World is my representation of the journey of the thousands of refugees who have left their homelands. Each band of color represents a part of the world with Canada being on the left. I created the area around the refugees in white to show that they are not seeing the world around them but concentrating on putting one foot in front of the other for thousands of kilometers. I often hear the phrase, “it’s not the destination but the journey that counts.” That may be true for those of us who live in relative comfort and safety. For these folks, it is the destination that counts— a destination of peace, safety, and a future for their children.
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Innerwoven 2015
Laurie Mika Encinitas, CA
H 20.00” W 10.00” D 1.50” Polymer clay, gold leaf, glass tesserae, millefiori, jewelry parts, beads The inspiration for this polymer clay mosaic was truly serendipitous. Using a slab of painted polymer clay to cut out small geometric shapes, I was struck by how the negative space left by the cutouts was more compelling than the cutouts themselves. Layering this “holy” slab onto another painted and gold-leafed slab created tiny niches that were small windows for embedding small tesserae and jewelry pieces. The tapestry-like effect of the clay and glass created the overall impression that the clay had been woven. Innerwoven (as opposed to Interwoven), a made-up word, refers to the creative process of looking within for inspiration and weaving together ideas that are then translated into a visual language.
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The Fortune Teller 2016
Shawn Newton Lake Worth, FL
H 24.00” W 24.00” D 1.00” Stained glass I have portrayed characters from an extraordinary, forgotten story. Beautiful Jim Key: The Lost History of a Horse and a Man Who Changed the World (by Mim Eichler Rivas) tells the story of Dr. William Key, a self-trained, African American veterinarian (and former slave), known for his kindness when training horses. While raising Jim Key, he taught him to read, write, spell, tell time and do simple math, and more. Performing from 1897 to 1906 to large crowds at world’s fairs, schools, and other venues, they became instrumental in advancing the emerging U.S. humane movement. A special effort was made to engage children—two million of whom signed the Jim Key Pledge: “I promise always to be kind to animals.” This mosaic depicts Jim’s performance at the 1904 St. Louis Worlds Fair in front of President Theodore Roosevelt’s daughter, Alice. When asked to spell her name, Jim assembled the words “Alice Roosevelt Longworth.” Two years later, Alice and Congressman Nicholas Longworth were married. 35
Political Statement 2016
Rachel Sager Perryopolis, PA
H 36.00” W 29.00” D 1.00” Sandstone, Marcellus shale, hand-stamped clay text, concretion stone, smalti, gold, copper, brass, electronic millefiori, Native American spear point In a time of discord, these hallowed words may hold very different messages to any given one of us. I choose the title Political Statement with irony in my heart. I believe the phrase—life, liberty, and the pursuit of happiness— transcends politics. But in a world where so many of our words have become political statements and our very identities are defined by choosing sides, I find myself needing to express the ideas that celebrate and elevate the human condition for all of us. This mosaic and the language that it uses are exactly my way of pursuing my personal brand of happiness.
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Je Suis La 2016
Angela Sanders Los Altos, CA
H 29.00” W 43.00” D 4.00” Smalti, Kokomo glass, ceramic, antique gold, encaustic My art is often inspired by memories of places, events, and feelings that happen in everyday life. As an immigrant, memories ground and comfort me, often replacing isolation and a missing sense of family associations and times past. The memory can become more important to me than the actual experience, so expressing it is an essential part of my consciousness. This intensely personal piece aims to explore how we process the experience between loss and memory. A new and difficult reality forces us to adjust to the loss of an important relationship. As time passes, this painful reality becomes one of comfort, allowing access to memories passed. Everyday experiences can become powerful symbols. The petals of a favorite flower swirl by in an unexpected wind, announcing, “Je suis la.”
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Unbroken, Uncovered, Undone 2017
Peggy Schuning Cincinnati, OH
H 24.00� W 18.00� D 0.75� Slate, stone, ceramic tile, gold, smalti, darkened-gray thinset As a mosaic artist, I enjoy uncovering a masterpiece in the broken, discarded, or unused pieces of daily life. Using slate, stone, stained glass, ceramic tile, smalti, and other broken and found objects, I focus on the beauty of the element itself. I then strive to highlight its color, design, or other understated detail with relevant pieces. Currently, I am studying the natural and subtle allure of slate. Much of this artwork is created out of various sizes of slate previously utilized as roofing. When displayed, the art has a contemporary feel.
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Breaking Out In Style 2017
Joan Schwartz Huntington Woods, MI
H 11.00” W 9.00” D 11.00” Smalti, stained glass, millefiori, glass and ceramic beads, tiles, acrylic paint, gold leaf, Magic Sculp, Styrofoam substrate This three-dimensional piece shows a newly hatched, funky chicken breaking out of its golden egg, decked out in full, flamboyant plumage. In some ways, Breaking Out In Style mirrors my own artistic journey. My goal has always been to create my own distinctive style, and as I have immersed myself in mosaic art, I have found it has allowed me to “break out,” to reinvent myself, to express all kinds of emotions, and to release an uninhibited side not normally seen in my everyday life. The process for choosing topics for my works are stimulated by past or present experiences as well as patterns, colors, or people, evoking a design from which I begin. Quite often, these pieces evolve into something far different than what I had originally imagined.
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Unravelling I 2017
Marian Shapiro Glenbrook, NSW, Australia
H 11.80� W 15.75� D 2.40� Smalti, gold smalti, recycled glass, hand-formed substrate I often work in series as it allows me to explore an idea more thoroughly than in a single piece. Unravelling 1 is the first in a new series and is my personal response to the current political situation unfolding in the U.S. and affecting the rest of the world, even in far-flung Australia. The work is deceptive in that it looks soft but is hard and unyielding. The piece moves from order to chaos, from tight coherence to a deliberate confusion of line; from vibrancy and diversity towards a more monochrome and faded color palette. Yet, the overall tone is quietly optimistic. Maybe the threads will come together again at some point.
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Opus Nigredo 2015
Lillian Sizemore United States
H 10.25” W 15.50” D 1.50” Granite, marble, smalti, vintage gold, chalcedony quartz conchas from Brazil, real Great Owl butterflies, tumbled hematite, sodalite, hand-carved basswood—burnt using the Shou Sugi Ban Technique. Opus Nigredo: A blackening, a burning, a decomposition. A black blacker than black, and so into infinity. Frozen tear drops on the page radiate toward pure crystalline light. “…the End is where we start from...And any action is a step to the block, to the fire, down the sea’s throat Or to an illegible stone: and that is where we start…” — T.S. Eliot The Little Gidding, Stanza V. from Four Quartets, 1943
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(More than) Enough 2016
Julie Sperling Kitchner, Ontario, Canada
H 16.00” W 12.00” D 1.50” A single piece of limestone
(More than) Enough belongs to a growing body of work that explores climate change using the language and materiality of mosaic. It tackles the intersection of consumption and climate change, where everything we consume has a carbon footprint associated with its production, use, and disposal. It is about the idea of having enough, since actively consuming less is perhaps one of the simplest ways to reduce our climate (and environmental) impact. I set out to make a mosaic from a single two-kilogram rock, using every last piece of it. I quickly realized I had more than enough. This mosaic taught me about honoring materials and not wasting them. There was no discarding of miscut tesserae, no shaving of corners to make them “just so.” Strike marks were celebrated and rogue dots of thinset were welcomed. Creating (More than) Enough was an exercise in restraint, mindfulness, strategy, and creativity—a good lesson for mosaic, but also for living a more climate-friendly life.
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All Summer Long 2017
Cathy Taylor Brantford, Ontario, Canada
H 18.00” W 26.00” D 1.50” Smalti, stained glass, beach glass As children and adults, we look forward, with much anticipation, to family vacations— creating lasting memories through new adventures and experiences shared. Research has shown these family vacations form some of our most vivid and happy memories. Leisure time spent enjoying each other’s company form family traditions and a sense of nostalgia. Silliness, frivolity, and tales of our adventures and misadventures can be related, exaggerated, and regaled, over and over again. For our family, many of these times took place at our cottage including the water activities that went along with it. Here, I have captured one of those family memories for my son.
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Human Reality 2016
Aida Valencia Tijuana Baja, Mexico
H 108.00” W 24.00” D 36.00” Glass, newspaper, smalti, beads, plaster over metal The sculpture forms a spiral with the letter H. Each “letter” is made up of a collage representing our reality, homelessness, war, and human dissolution. It is created out of newspaper clippings and headlines, integrating faces made of smalti. The central piece in white unites every piece with gauze, representing the red emotions of life.
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Does This Make Me Look Fat? 2016
Donna Van Hooser Prairie Village, KS
H 10.00” W 12.00” D 1.00” Wasser glass, vintage rhinestones, glass beads I love the challenges of working in mosaics as well as the limitations of working with glass as a medium. Learning is constant, and experimentation with additional materials, subjects, and techniques has helped me take my work in different directions. I always try to bring my love of storytelling, pattern, and, most importantly, animals and pet portraiture to my mosaic work. I’m drawn to work that is whimsical yet has a balance between the classical and absurd. While I try to make art that surprises and delights, I also want to tell a story—but not the whole story—leaving the viewer to bring a part of themselves to each piece.
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Old Jerusalem 2016
Casey Van Loon Chicago, IL
H 10.00” W 12.00” D 1.00” Slate, marble, lustre glass My work focuses on the interplay of light within contrasting materials in mosaic. That interplay expresses moments of unexpected beauty and dynamism. Working more than 20 years as a stained glass artist and painting with its colored light, I was drawn to recreating its reflective parallel, using the minimal, yet playful, interactions of vibrant colors unpredictably shot out of lustre glass. These colors contrasted with the dense warmth and neutrality of earthen slate and marble. Thematically and visually sourcing, frequently from concrete, stone, and asphalt cracks—as well as the secrets that lie beneath— my current work means to capture the daylight and color these cracks can allow or offer.
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Mosaico Espacial XII (Spatial Mosaic XII) 2017
Liliana Wais Buenos Aires, Argentina
H 23.60” W 6.7” D 6.7” Polyester resin handmade tiles
Spatial Mosaic XII proposes the use of technical, constructive, and aesthetic configurations that contribute lightness, movement, and a new relationship with the force of gravity in the mosaic universe. My work expresses the result of the permanent search for a language for mosaic, as it exists in space—moving and in a permanent dialogue with light. Spatial Mosaic XII is a three-dimensional construction that explores space and mosaics, building space without supports, providing a different concept, a novel technique, and pleasing aesthetics. This work also explores different interrelations between hollow and full spaces, playing with stability and self-support. Resin handmade tiles and joints are designed and assembled in three dimensions, visible to the observer without the interposition of any other element—determining forms and spaces and acquiring new roles. Observers can walk around the work and look at every component of the mosaic, fully pierced by light. 47
(What if...) UnBleached 2017
Anabella Wewer Macungie, PA
H 36.00” W 13.00” D 1.00” Mississippian-period crinoids, marble, limestone, concrete, onyx, Peruvian opal, rhodonite, rhodochrosite, litovi This is one in a series of mosaics in which I explore what would happen if one of the fossils in my collection— which are millions of years old—were to come back to life. Through andamento and color gradations, I explore the imagined effort of the fossils drawing energy from within and revealing long-hidden secrets. Here, I was imagining what a pair of Mississippian Period crinoids—which, incidentally, exhibit perfect sdoppiamento—would look like if they came back to grace our modern day oceans. As I worked, however, it struck me how similar the color of the first few inches was to that of a bleached coral. As a scuba diver, I have seen the effects of a changing climate on the reefs, and mourn the loss of so many in my lifetime. My “what-iffing” turned to more earnest thinking about what could happen if we gave the reefs a chance to come back to their former glory, and whether we can still stop the damage to our oceans and reverse current trends. 48
S I T E - S P E C I F I C
2017 Site-Specific Mosaics Juror Statement Susan Goldczer Goldberg, Hollywood, Florida It is an honor and privilege to serve as juror for the 2017 Mosaic Arts International, Site-Specific Mosaic Category. Many of the site-specific submissions had a strong community interface, which I believe is inherent in many public art projects. I congratulate all the artists who put their work forward and shared their creativity and artistic mastery over the mosaic medium. The selection criteria conveyed was to pick a work exemplifying excellence in design and installation methods, yet also reflecting sustained harmony and timelessness with the surrounding architecture and environment. I congratulate all the artists in this exhibition as you were able to achieve a very high caliber of artistic integrity, that is often challenging when responding to site-specific environmental demands, or when work is vetted through a community or governmental process. As a 30-year practicing architect, there is a clear parallel to the same criteria used to judge excellence in architecture. Certainly, architects of some of the most memorable projects have considered the site of their projects in the planning and creation of their work. Frank Lloyd Wright’s Falling Water is an example of timeless harmony with its immediate environment. Wikipedia defines site-specific art as “created to exist in a certain place.” The site-specific art movement grew out of the desire of artists in the 1960s and 1970s to move art outside of museum walls and target a wider audience, while activating a surrounding area or creating new and memorable ways that public space is utilized. The “cloud gate” or bean in Chicago’s Millennium Park is probably the most successful site-specific art installation in the last 20 years. The submissions for the Site-Specific Category covered a range of public and private commissions, as well as a diverse mix of mosaic methodologies, materials, and innovative three-dimensional sculptures. The artists were challenged to create art that spoke to the site and told a story. Some of the pieces were rather large and, as such, presented an awkward challenge on how to best convey their artistry. I reviewed each image with respect and careful analysis. The work that best satisfied the criteria in the Site-Specific Category was Temple City Today, by Carole Choucair Oueijan, comprised of five mosaic works. The submission was professionally organized, clearly described, and well photographed to fully communicate the information in this work. The artist’s technical proficiency and artistic expression was impressive, as each mural was original, and romantically depicted the history of the city through a diverse choice of mosaic materials. I was able to step inside the individual panels and became mesmerized by the mosaic artistry in the dancer’s sandal, boy’s backpack and hot-rod headlights. The mosaic murals appear to be a painting from a distance and upon close inspection, one is able to appreciate and be in awe of the artist’s skilled use of color, shading, technique, and material in achieving their vision. This is an extremely successful mosaic art work which results in a memorable experience by engaging the public, as the panels are installed along a major boulevard that traverses the city, and encourages both pedestrian and community connectivity while reflecting pride in the local history. Continued
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S I T E - S P E C I F I C
2017 Site-Specific Mosaics The seven stained glass mosaic murals constructed for the Palmer Park Community Center, by Bonnie Fitzgerald, are also to be noted for their ingenuity and skill in this category. The difficulty in the stairwell installation and how this artwork would be viewed was expertly addressed both in the material choices and artistic representation. This artist has clearly mastered an elegant and refined simplicity in the line work, depicting each of the figure’s bodies and movement (almost Miro-esque) while also rendering a sophisticated detailing of fabric in the subtle use of color and shading. I returned several times, focusing on the details to discover new textures and the skilled planning of assemblage of the art.
Steps to Success, the four-panel mural at Belmont College Health Sciences Center by Bonnie Cohen, was impressive for both artistic and innovative material use. The handmade tiles with softened edges used in the mural were extraordinarily beautiful and symbolic of the Health Science Department’s philosophy of balancing technical excellence and human touch. For Best Community Mosaic, my selection was based on how successfully the artist was able to engage the community, resulting in a project that reflected and enhanced their identity and place. It was also important that the choice in this category could provide an example of ideas and strategies for other community projects. The Creekmouth Heritage Mosaic, by Tamara Froud, was poetically representative of a historic span of time, and stylistically recalled the Federal Arts project WPA (Works Progress Administration) murals of the 1930s. The artist depicted the history of a famous ship which sank in nearby waters, as well as what was probably the biggest commercial employer in this area during the early industrial years in this village. She cleverly documented oral histories in the river tile, further enhancing the community’s sense of pride and heritage, resulting in a mural that serves as a focal point of this community. I thank the artist for including people in the photo who were actively engaged in looking at the mural and identifying some of the residents who had provided information and history of this village. Kudos to her, for maintaining a high level of artistic integrity in a collaborative community design. The mosaic art selected for this exhibition will serve as an inspiration to other mosaic artists, and I thank SAMA for promoting and advancing the growth and refinement of mosaic art.
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2017 Best Site-Specific Mosaic Temple City Today 2015
Carole Choucair Oueijan Hacienda Heights, CA Location: Temple City, CA, USA
Each panel: H 44.00” W 28.00” D 1.00” Smalti, marble, granite, cristallino, millefiori, iridescent tile, pebbles, other glass This is a public art project consisting of five mosaic murals constructed in the Byzantine Indirect method, and installed in separate panels along Rosemead Blvd. They illustrate the avenues through which the community joins hands. Clockwise from upper left:
Embracing the Nature recognizes the San Gabriel Mountains and wild parrots as iconic, natural amenities. Festivities The Camellia Festival and Lunar New Year represent the merging of Eastern and Western cultures through celebratory traditions. What We Created commemorates the first Winchell’s Donuts House. Installed Festivities panel on Rosemead Blvd. A District Of Distinguished Schools recognizes receipt of the California Distinguished Schools award, and foreshadows future graduation and success.The Bandstand memorializes the Temple City Park bandstand as a central gathering place and cultural epicenter. 50
2017 Best Community Site-Specific Mosaic Creekmouth Heritage Mosaic 2015
Tamara Froud London, UK Location: Barking, UK
H 5.60’ W 19.70’ D 0.33’ Glazed ceramic tile, printed ceramic tile, mirror, glass tile This mural was installed as part of the Creekmouth Heritage Project, which preserves 150 years of history in the Creekmouth area of Barking, east of London with the help of local residents, who were engaged in the collection of historic material. The mural depicts the successes and tragedies of the past, such as the 1878 Princess Alice Disaster, where some 700 people died after a coal carrier crashed into their pleasure boat on the Thames; the development of war and passenger planes by Handley Page, and the construction of Creekmouth Village by the owner of the Lawes Chemical Factory to house his workers.
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Marine Panels 2015
Debora Aldo Sterling, CT Location: Charlestown, RI, USA
H 3.00’ W 6.00’ D 0.50’ Granite, pebbles, dalle de verre, gold, smalti The panels are set into a 45-foot wall above a saltwater pool. They depict local marine animals from the southern Rhode Island area—lobster, bass, tautog, Jonah crab, and bluefish. A center element in seven shades of gold and a single strand connects all three panels.
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GreenMan 2016
Marc Archambault Asheville, NC Location: Asheville, NC, USA
H 20.00’ W 16.00’ D 0.00’ Natural stone: marble, sandstone, slate, gneiss, malachite, and others Visitors to Asheville, North Carolina’s GreenMan Brewery are greeted by a largescale natural stone mosaic. GreenMan is an adaptation of the craft brewer’s logo. Almost all the stone used is from the southeastern U.S.
Photo: ©2016 David Dietrich
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A Journey Begins with One Step 2016
Bonnie Cohen Akron, OH Location: Adler Aphasia Center, Maywood, NJ, USA
H 6.00’ W 14.00’ D 0.25’ Mosaic glass, glass beads, recycled glass Working with the staff of art and speech therapists, over 70 patients with aphasia created mosaic flower motifs to be included in a mosaic mural for the Adler Aphasia Center lobby. The patients created their flowers on adhesive mesh, accommodating their physical limitations. Most patients could only use one hand. To help streamline the art sessions, I created a video and skype session to help staff and volunteers understand the project before I arrived for a two-day artist-in-residency. I then integrated the patients’ flower motifs into a mosaic mural titled A journey (of a thousand miles) begins with one step. The mural is a tribute to the generous donors to Adler Center’s many programs and services for people with aphasia. Mrs. Adler’s words say it all: “It is exactly what I wished for—A Happy Wall!”
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Steps to Success 2015
Bonnie Cohen Akron, OH Location: Belmont College Health Sciences Center, St. Clairsville, OH, USA
H 14.00’ W 9.00’ D 0.25’ Stainless steel, glass mosaic, handmade tiles The four-paneled mosaic for the Belmont College Health Sciences Center illustrates the exceptional technical foundation of the Belmont Health Sciences program, balancing human touch with technical excellence. School colors are integrated into the artwork to inspire and energize students and faculty. By incorporating figurative and symbolic iconography, the importance of practical skills and expertise through experiential learning is emphasized. The figures represent the concept of lifespan care and the human touch, which is creatively interpreted through the combination of the soft-edged handmade tiles and the gridlike patterns of the glass mosaic. This was an Ohio Percent for Arts Commission.
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Art Icons 2016
Bonnie Fitzgerald Oakton, VA Location: Drew Model School, Arlington, VA, USA
H 3.00’ W 33.00’ D 0.10’ Stained glass, vitreous glass tiles This commissioned work was created for an elementary school art garden. Twelve individual works depicting the history of art grace the back sides of concrete risers in the art garden. The risers form an amphitheater and children’s dance and theater performances are held on stage. The mosaics were designed as a learning tool featuring iconic art images throughout art history. Located in a central courtyard, the mosaics are displayed at the perfect eye level for children viewing from the glass-enclosed surrounding hallways. Details of the panels shown were inspired by the Lascaux Caves, Picasso, Georgia O’Keefe and Mondria
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Palmer Park Community Center 2015
Bonnie Fitzgerald Oakton, VA Location: Landover, MD, USA
H 10.00’ W 19.00’ D 0.10’ Stained glass Seven, large, individual art works depict activities offered by the well-respected Palmer Park Community Center, considered a beacon for the neighborhood. The work was installed in a challenging location—inside a stairwell— to be viewed only from the street.
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Peacehaven Sensory Wall 2016
Carrie Gault (SAMA member) and Cynthia Frank Floyd, VA Location: LeBauer Park, Greensboro, NC, USA
H 4.00’ W 25.00’ D 0.50’ Penny round glass tile, handmade ceramic tile, mirror tile, concrete, playground activity wheels Working with therapists, teachers and parents, we learned about Sensory Processing Disorder in order to engage children along the wide spectrum of sensory disabilities. Some children have difficulty reaching up so we angled the curves in places to create slight overhangs with easier access. Bright colors help the playful mosaic flow along both sides to visually pop. Textures invite the children to run their hands along the surfaces. Children marked wet clay with shells, branches, wooden type, pattern rollers, etc. to create the large circular tiles grouted with 14 handmixed grout colors. The interactive playground components have motion and sound; engraved words offer opportunities to vocalize; mosaic mandalas address each of the 5 senses; holes through the wall create a view to the other side; hidden tiles encourage a treasure hunt. The piece appeals to a wide audience, and holds its own in the larger park. 58
Floating Hanger 2016
Eileen Gay Sparks, NV Location: Crystal City Shopping Center, Route 66, Tulsa, OK, USA
H 9.50’ W 10.00’ D 5.00’ EPS, mesh, cement, porcelain and stone tile, mirror
Floating Hanger is part of the Route 66 Enhancement Project - Vision 2025, and was inspired by the idea of machinery and motion in Tulsa, and its part in the oil industry. The sculpture represents all of those things in the form of a ring and pinion gear, a basic part in the machinery. The imagery around the inside of the ring gear tells of transportation through time, up to the current age of space exploration. Included are Oklahoma’s state dinosaur, the Acrocanthosaurus, and state bird, the scissor-tailed flycatcher. Above, a spacecraft is shown heading for what might be the moon in the night sky of the mosaic. The name refers to oil field worker slang for a “jack-ofall-trades,” or it might be a part of an oil rig. The artist leaves it up to you to decide.
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Seasonal Tree of (wild) Life 2016
Sherry Warner Hunter Bell Buckle, TN Location: Memphis, TN, USA
H 9.60’ W 18.00’ D 18.00’ High-fired ceramic tile and glass accents, epoxy grout over unique concrete sculpture. Working with therapists, teachers and parents, we learned about Sensory Processing Disorder in order to engage children along the wide spectrum of sensory disabilities. Some children have difficulty reaching up so we angled the curves in places to create slight overhangs with easier access. Bright colors help the playful mosaic flow along both sides to visually pop. Textures invite the children to run their hands along the surfaces. Children marked wet clay with shells, branches, wooden type, pattern rollers, etc. to create the large circular tiles grouted with 14 hand-mixed grout colors. The interactive playground components have motion and sound; engraved words offer opportunities to vocalize; mosaic mandalas address each of the 5 senses; holes through the wall create a view to the other side; hidden tiles encourage a treasure hunt. The piece appeals to a wide audience, and holds its own in the larger park. 60
A R T I S T
D I R E C T O R Y
2 0 1 7
Fine Art and Invitational Lilian Broca
Vancouver, BC Canada
lbroca@shaw.ca
Page 00
Sandra Bryant
Lynden, WA
info@showcasemosaics.com
Page 00
Kathy Burk
Bozeman, MT
kathy@kathyburk.net
Page 00
Sandi Burt
Cameron Park, CA
sandi_burt@hotmail.com
Page 00
Patty Chapman
United States
l.chapman@bresnan.net)
Page 00
David Chidgey
San Antonio, TX
artglassmosaics@aol.com
Page 00
Darcel Deneau
Novi, MI
darcel@me.com
Page 00
Christopher Elam
Bloomington, IN
chris@sycamoretile.com
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Deb Englebaugh
Mercer, PA
debi2@icloud.com
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Scott Fitzwater
Portland, OR
scott.fitzh2o@gmail.com
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Elizabeth Gallery
Santa Barbara, CA
bgallery@cox.net
Page 00
Carrie Gault
Floyd, VA
carrie@birdandhopperfarm.com
Page 00
Eileen Gay
Sparks, NV
waaahoo@aol.com
Page 00
Etty Hasak
Chicago, IL
e.hasak@gmail.com
Page 00
Valerie Hollstein
Salt Lake City, UT
valeriehollstein@gmail.com
Page 00
Caitlin Hughes
Winmalee, NSW Australia
caitlin@hughesstudio.com.au
Page 00
Kate Kerrigan
Bend, OR
kerrigan.kate@gmail.com
Page 00
Toyoharu Kii
Tokyo, Japan
kiiing@kc5.so-net.ne.jp
Page 00, 00
Kelley Knickerbocker
Seattle, WA
kelley@rivenworks.com
Page 00
Verdiano Marzi
Italy
????
Page 00
valeriemcgarry@gmail.com
Page 00
Valerie McGarry
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Bowmanville, ON Canada
Laurie Mika
Encinitas, CA
laurie@mikaarts.com
Page 00
Pauline Mills
Lubbock, TX
buddyandpauline@yahoo.com
Page 00
Shawn Newton
Lake Worth, FL
snewtonart@aol.com
Page 00
Rachel Sager
Perryopolis, PA
rachelsagermosaics@gmail.com
Page 00
Angela Sanders
Los Altos, CA
angelagsanders@gmail.com
Page 00
Peggy Schuning
Cincinnati, OH
theschunings@fuse.net
Page 00
Joan Schwartz
Huntington Woods, MI
joanschwartz@mac.com
Page 00
Marian Shapiro
Glenbrook, NSW, Australia mshapiro@dariandesign.com.au
Page 00
Lillian Sizemore
United States
lillsizemore@gmail.com
Page 00
Julie Sperling
Kitchner, ON, Canada
julie@sperlingmosaics.com
Page 00
Cathy Taylor
Brantford, ON Canada
ctaylor1961@live.com
Page 00
Aida Valencia
Tijuana Baja, Mexico
aida@casavalencia.com
Page 00
Donna Van Hooser
Prairie Village, KS
donna@sundogmosaics.com
Page 00
Casey Van Loon
Chicago, IL
caseyvanloon@gmail.com
Page 00
Liliana Wais
Buenos Aires, Argentina
lilianawaisman@gmail.com
Page 00
Anabella Wewer
Macungie, PA
anabella@blkbx.com
Page 00
A R T I S T
D I R E C T O R Y
2 0 1 7
Site-Specific Mosaic Debora Aldo
Sterling, CT
deb@pietreduredesign.com
Page 00
Marc Archambault
Asheville, NC
marc@gomanifesto.com
Page 00
Carole Choucair Oueijan
Hacienda Heights, CA
artbycarole@msn.com
Page 0000
Bonnie Cohen
Akron, OH
bcohen718@gmail.com
Page 00, 00
Bonnie Fitzgerald
Oakton, VA
bonnie@maverickmosaics.com Page 00, 00
Tamara Froud
London, UK
mosaicallsorts@yahoo.co.uk Page 00
Sherry Warner Hunter
Bell Buckle, TN
sherriartstudio@aol.com
Page 00
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A B O U T
S A M A
About SAMA The Society of American Mosaic Artists (SAMA) is a non-profit organization dedicated to educating, inspiring, and promoting excellence in the mosaic arts. To achieve this mission, SAMA organizes programs, events, and activities designed to: • • • •
Attract and retain members who value excellence in mosaics; Educate both the art community and the public regarding contemporary and classical mosaic arts; Provide opportunities for unlimited creative and professional growth; Foster and sustain a mosaic community where members are encouraged to explore the full potential of the art form.
SAMA was founded in 1999 by a small group of mosaic artists who wanted a venue through which they could share their knowledge, expertise, and interest in mosaic art—this most ancient of art forms that was experiencing a significant contemporary revival. Today, sixteen years later, we remain a vibrant and ever-expanding group of more than 900 members, including mosaic artists at all levels, mosaic aficionados, collectors, materials suppliers, and art educators. We have put renewed emphasis on strengthening ties with other mosaic organizations around the globe to pursue common goals and developing new programs relevant to our diverse membership.
About Janice Charach Gallery, Jewish Community Center of Metro Detroit Established in 1926, the JCC has played a central role in the physical, social, spiritual, and educational well-being of the Jewish and general community of Metropolitan Detroit. Located in West Bloomfield, the facility offers year-round programming for families, children, teens, and adults. Also featured are three swimming pools, a fitness center, a summer day camp, a child development center, an inline hockey center, an interactive children’s museum, and an art gallery—to name a few! The mission of the Jewish Community Center of Metropolitan Detroit is to support Jewish unity, ensure Jewish continuity, and enrich Jewish life while conveying the importance of well-being within the Jewish and general community and the people of Israel. The Janice Charach Gallery hosts exhibitions featuring Jewish and non-Jewish, established, and emerging artists. Exhibitions include glass, ceramics, multi-media, painting, fiber arts, and photography. The gallery also presents educational programs and is home to a shop with works by local artists. The Gallery is endowed by Natalie & Manny Charach, in their daughter’s memory. jccdet.org
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S P E C I A L
T H A N K S
Special Thanks Kelly Kaatz, Janice Charach Gallery Director Bank of America Barbara and Douglas Bloom Natalie, Manny and Jeffrey Charach E*TRADE Financial Nancy and James Grosfeld Esther Hankin Jacki Gran, President, Exhibitions Committee Chair, SAMA Joan Schwartz, Host Committee Chair, SAMA Dawnmarie Zimmerman, Executive Director, SAMA Chris Forillo, Conference Manager, SAMA Shawn Newton, Communications Manager, SAMA Tim Stassines, Graphic Designer and Catalog Production Manager
Extra Special Thanks Mosaic Artists of Michigan SAMA’s Incredible Volunteers
To Join, Contact SAMA, P.O. Box 624 Ligonier, PA 15658-0624 americanmosaics.org info@americanmosaics.org 63
S A M A
2 0 1 7
C O N T R I B U T O R S
SAMA would like to thank the sponsors of the 2017 Conference. President’s Circle Sustaining Contributors $7,500+
Gift Bag Contributors $250
LATICRETE International
Austin Mosaic Guild
Smalti.com and WitsEnd Mosaic
Chicago Mosaic School Joan Schwartz
Gold Circle Sustaining Contributors $5,000
Kismet Mosaics
di Mosaico
Maryland Mosaic Maverick Mosaics
Silver Circle Sustaining Contributors $3,000
Rainbow Mosaics/Mosaic Mentoring
Rainbow Mosaics & Mosaic Mentoring
Rivenworks Mosaics
SAMA Board of Trustees
Santa Barbara School of Mosaic Art and Mosaic Arts
Bronze Circle Sustaining Contributors $1,500 MOSAICO Houston
Marble Tessera Sponsor $600–$750 Austin Mosaic Guild Sashco Sealants
Glass Tessera Sponsors $300–$500 Chicago Mosaic School Barbara King Sonia King Kismet Mosaics Joan Schwartz SWH Art Studio inc Wedi Corporation
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Online Sashco Sealants SWH Art Studio Inc. Visual Voice
To Join, Contact SAMA, P.O. Box 624 Ligonier, PA 15658-0624 americanmosaics.org info@americanmosaics.org ©2016 SAMA
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