My studio is filled with "works in progress", and at times it feels both a blessing and a curse. Upon entering the studio, I have a choice: work on that piece begun 7 years ago, or plow ahead with my latest idea?

The abstract floral is a takeoff of an original painting by artist Domingo Zapata that was later rendered in mosaic by Koko Mosaico for the 2013 Venice Biennale. I've selected a portion of the original to reproduce, and I’m loving the bold outlines and yellow-rose color play. This one was started long ago, and I’m just now diving in again in earnest. It’s been a while since I’ve worked with smalti, so I’m finding my way setting these vibrant tesserae.  

This year I’ve enjoyed catching snippets of time to develop my “Found” line of pendants. These tiny compositions feature glass and natural & found objects, and no two are alike. The compositions are deceivingly difficult to get “just right”.

I’ve also been experimenting with mixed media pieces incorporating found objects: rusty wire, bits of wood, and other “found” detritus. Composition is king, and I love searching through my treasure trove of unusual finds to make just the right selections. My goal is to achieve balance and harmony in the finished work.

The creation of sacred and classical works easily lends itself to meditation and quiet reflection.  Often I listen to music as I work.  During these times I select classical guitar or piano or Gregorian chant.  The simplicity of the music allows me to enter the work in a state of peaceful contemplation.   

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The process of creating custom, permanent installations is a thrilling experience.  I enjoy the excitement of meeting a client and listening to their vision for the project. This meeting is usually followed by the creation of preparatory sketches, materials selections, and a pricing and timing quote.  Once accepted, a flurry of activity follows: re-scaling the design to full size, ordering materials, and (sometimes) preparing a maquette.  I've learned a great deal from clients and have developed a "to-do" list to help us work together most effectively:

1.  Information.  The client may be new to mosaic and require education to help articulate her vision.  Considerations such as color, transparency/opacity of glass or other materials, placement, purpose, lighting conditions, and desired style are all-important.  The second drawing illustrates the importance of the preparatory sketch; upon viewing, the client decided to exclude the cross from the mosaic, as that motif was found elsewhere in the installation space. 

2.  Maquette.  A maquette is a small "mock up" piece rendered in the selected materials to ensure that the artist and client share a common vision for the work.  The maquette provides a guide as to how the finished piece will appear and provides a visual to help the artist and client communicate in more meaningful ways.    

3.   Measure Twice and Create Once.  As several hundred hours of work can go into a single installation, it is critical that the finished work fit the installation space.  This presents a particular challenge in the presence of arches, difficult-to-reach spaces, and the like.    

I've also learned it's important to plan for the unexpected.  In creating the double door panels for "Come, Holy Spirit", I asked the client where the install doors would be located.  I was assured they would be in an indoor, temperature-controlled space.  In an abundance of caution, I tested several adhesives; subjecting them to freeze-thaw cycles and exposure to sunlight.  (Only one of five passed the test!)  Once the windows were completed, I learned they were to be installed in a completely different set of doors on campus, and that location was outdoors!   Years later, the panels remain in great condition.  (Whew!)   

The creation of contemporary mosaic works brings moments of joy, happiness, and fulfillment.  I especially enjoy reproducing the masters: scroll down to see re-creations of Albers, Mondrian, Monet and Van Gogh.