General

Sold!

July 24, 2021 in General, Sold, Theme and Variations

I am so pleased to have my most ardent supporter and most prolific collector add Theme and Variations: All Dreams, to their mosaic art collection. They now own three of the works from my Music To My Eyes series, along with a few other pieces.

Theme and Variations: All Dreams, in situ using Artooms app. — *Theme and Variations: All Dreams*, in situ using Artooms app.

Theme and Variations: All Dreams (2020) 36” x 57” | 91cm x 145cm. Mosaics gold, colored cement. Inspired by a contemporary classical piano piece by Christopher Theofanidis, titled All Dreams Begin With The Horizon, 3rd movement. — *Theme and Variations: All Dreams* (2020) 36” x 57” | 91cm x 145cm. Mosaics gold, colored cement. Inspired by a contemporary classical piano piece by Christopher Theofanidis, titled *All Dreams Begin With The Horizon*, 3rd movement.

I will certainly miss this one, but how thrilling it is to sell such a large work! It will be quite the chore to ship it and hang it, but it will be stunning in it’s new home.

all dreams final detail2 web.jpg — *Theme and Variations: All Dreams*, from lower front

Sales at Sky Gallery

November 04, 2020 in Sold

What a great little surprise yesterday, a day otherwise known at our house as election-day-from-hell. 😎Several of my things sold at Sky Gallery, here in Tulsa on Route 66, in the last weeks. My two art pieces, No Such Thing As Time and Out! were two of the sales. Also sold were a few magnets and a notecard. Isn’t that nice!

No Such Thing As Time (2012) 8” x 22” Each panel 4” x 4” Marble, porcelain, mosaic gold, broken china, sodalite, turquoise, malachite, onyx. A 'four seasons-inspired' group. Each panel 4" x 4". Framed in a black wood floater frame. — *No Such Thing As Time* (2012) 8” x 22” Each panel 4” x 4” Marble, porcelain, mosaic gold, broken china, sodalite, turquoise, malachite, onyx. A 'four seasons-inspired' group. Each panel 4" x 4". Framed in a black wood floater frame.

Out! (2018) 7” x 5” Smalti. — *Out!* (2018) 7” x 5” Smalti.

Of course, sales are great! But some are a bit sad too. It’s really hard to part with No Such Thing As Time, as it is one of my favorites.

View from entry of Hardesty Arts gallery. My work, Interior Frequencies, is on the far wall just right of center. — View from entry of Hardesty Arts gallery. My work, *Interior Frequencies,* is on the far wall just right of center.

Tulsa Artists' Coalition Annual Members Show at Hardesty Arts

October 11, 2020 in General, Interior Frequencies

Previous posts about Interior Frequencies

Yesterday, my family and I made it out to see the TAC Annual Members Show at the Hardesty Arts gallery. This is my absolute favorite exhibition space in town. There were COVID precautions in place, including limiting the number of people there at a time. Interior Frequencies was the only mosaic in the show, but it still had a very good spot. I’m happy about that.

The gallery did a really interesting thing to help educate and engage the audience. They put out a basket of tiny pompoms of different colors. Each color represented a metric by which art is judged (see below). Gallery goers are invited to apply these metrics. Vials are installed next to some of the artworks to collect the pompoms as people judge the works by the color-coded metric.

I don’t know what process was used to select which works would be featured for this, but mine is one of them and has already earned plenty of pompoms. I think it’s a great idea and my family and I participated in this exercise ourselves.

Here are some highlights of the show. Enjoy!

The Lynching Andrea Martin. Mixed media on canvas. — *The Lynching* Andrea Martin. Mixed media on canvas.

I Can’t Breathe! John Owen. Pencil. Comprised of 500 names of victims of police violence. See detail. — *I Can’t Breathe!* John Owen. Pencil. Comprised of 500 names of victims of police violence. See detail.

I Can’t Breathe!, detail — I *Can’t Breathe!*, detail

The Koi Pond Karen St. Clair. Oil. — *The Koi Pond* Karen St. Clair. Oil.

Sanctuary Alyssa Fields. Oil. — *Sanctuary* Alyssa Fields. Oil.

Interior Frequencies Jacqueline Iskander Mosaic: Glass, colored cement. — *Interior Frequencies* Jacqueline Iskander Mosaic: Glass, colored cement.

Soothsayer Colleen Stiles. Paper mâché, driftwood, vines, acrylic. — *Soothsayer* Colleen Stiles. Paper mâché, driftwood, vines, acrylic.

Soft Rain Ripples Alex Dulle. Blown glass. — *Soft Rain Ripples* Alex Dulle. Blown glass.

You Are Life (Savannah Series) Clara Titus. Animal bone, ceramic. — *You Are Life (Savannah Series)* Clara Titus. Animal bone, ceramic.

You Are Life, side perspective — *You Are Life*, side perspective

You Are Life, detail — *You Are Life*, detail

Rising sun behind the trees, seen through one of my studio skylights.

Good Wednesday Morning to ya!

October 07, 2020 in General

From West to East

September 27, 2020 in General

My little coral heart, from the waters off the Big Island of Hawaii, has found its home in New Brunswick, Canada.

A Little Love Story (2020) 6.5” x 8.5” | 17cm x 22cm. Marble, travertine, turquoise mosaic gold, smalti, coral. — *A Little Love Story* (2020) 6.5” x 8.5” | 17cm x 22cm. Marble, travertine, turquoise mosaic gold, smalti, coral.

In this mosaic, the turquoise mosaic gold heart and waves represent the connection that the coral has to the water, to its beloved. The coral is forever embraced by its beloved, and the waves of this love radiate out into infinity.

Apparently, the waves radiated all the way to eastern Canada, to someone who heard this little love story and was touched by it. How perfect!

Interior Frequencies, in situ — *Interior Frequencies*, in situ

Accepted!!!

September 23, 2020 in Interior Frequencies, General

Previous Posts About Interior Frequencies

My Wednesday started with the excellent news that the above work, Interior Frequencies, was juried into the TAC (Tulsa Artists Coalition) Annual Members Show. This show will be held at the Hardesty Arts Center in the Tulsa Arts District, which is a gorgeous exhibition space.

Interior Frequencies (2020) (2020) 31” x 62” | 79cm x 173cm. Each 9” x 12” | 23cm x 30 cm. Kismet glass, colored cement. Left to right: Depression, Invisible, Guilt, Hopeless, Conflicted, Self-loathing, Shame, Dread, Rage, Loss, Humiliation, Overwhe… — *Interior Frequencies* (2020) (2020) 31” x 62” | 79cm x 173cm. Each 9” x 12” | 23cm x 30 cm. Kismet glass, colored cement. Left to right: *Depression, Invisible, Guilt, Hopeless, Conflicted, Self-loathing, Shame, Dread, Rage, Loss, Humiliation, Overwhelmed.*

I’m so thrilled with this! And quite surprised! Wall space is, of course, limited, and they chose to give a large space to mosaic! This is so awesome!

The exhibit will run Oct. 2 - Dec. 16.

Gaglio Rooster Commission

September 17, 2020 in General

A couple in Florida recently rebuilt their home after Hurricane Michael damaged most of it. They really wanted a rooster backsplash behind the stove, but design considerations led them to have the stove in a new curved island. Still, they wanted a rooster in the kitchen, and they wanted it to be portable—to be hung as an artwork above the countertop (image below) in a cabinet alcove. The walls are a soft gray.

Years ago, they had purchased a 17” x 17” original rooster painting from a local artist, and they initially asked me to create the design in mosaic. I approached the artist about copying his design and the response was that a licensing fee would be required. The clients did not want to pursue it at that point, so we went about designing a new rooster.

They found a couple of free-to-share images that they liked and I used those to inform my design. Specifically, they really liked the puffed-out chest and full tail feathers of one of the roosters. They wanted a plain background.

The rooster will be done in smalti, with some iridescent highlights, and the background in vitreous, also with some iridescent highlights. I created the cartoon using the Procreate app, using a palette created with the materials shown in the above Rooster Palette. My Procreate skills are modest, at best, but it’s fun to work with. After conferring with the clients, I decided to eliminate a couple of the lighter background shades. They are pleased with the design and happy that I was able to harmonize the mosaic background with the countertop.

Next, I’ll probably draw in some andamento lines and then I am ready to get started on this. Fortunately, I have most of the materials in stock. I did have to order a little more teal and cobalt iridescent tile as I have very little of that.

Mosaic Bottles, Magnets, and Mirrors on display at Sky Gallery.

New Sky Gallery in Tulsa, OK

September 15, 2020 in General

There is a new little gallery opening here in Tulsa, on Route 66, around 11th and Rockford. It’s a nice little strip with other artsy shops and places to eat. I’m pleased to be able to display some of my decorative pieces, as well as a few small-to-medium art pieces.

From the top: No Such Thing As Time, Impromptu in Red, Study in Moderation № 4, Out!, Homage to Kilauea, and Study in Moderation № 6.

Above is my little bit of wall space for some art pieces. The gallery has its grand opening Oct. 3.

Beautiful Wreckage

September 15, 2020 in General

Isn’t this just awesome!!

About a week ago, our yard people were working in our back yard and accidentally propelled some object at warp speed smack into our laundry room back door. I heard a loud crack and went looking for it. I thought maybe a delivery guy had too enthusiastically thrown a package onto the front porch? No, no deliveries.

As I was walking around the downstairs searching for something amiss, I heard a weird sound coming from the kitchen? No. The laundry room. I had no idea what this sound was: a crackling. Then I saw the laundry room door. Wow! And it just kept crackling for several minutes. Freaked me out.

We are now waiting for it to be repaired, but it looks pretty amazing doesn’t it? At night, when it is dark and the outside light is on, it’s totally mesmerizing! I love it.

Above shows the area from whence everything started, after the big bang, so to speak. The image at the top of the post is a zoomed-in capture of this area.

Studies in Moderation №s 1-10 (2020) Each 7” x 9” | 18cm x 23cm or 9” x 7” | 23cm x 18cm. Stone, smalti, framing spring clips (1-6), mosaic gold, (7-10), turquoise (7), broken china and shell (8). — *Studies in Moderation №s 1-10* (2020) Each 7” x 9” | 18cm x 23cm or 9” x 7” | 23cm x 18cm. Stone, smalti, framing spring clips (1-6), mosaic gold, (7-10), turquoise (7), broken china and shell (8).

Studies in Moderation: How Did I Do?

September 01, 2020 in Study in Moderation

Yes, just last week I said that I was doing three more studies to make a total of twelve. However, there have been a couple of developments that have led me to decide that enough is enough.

Firstly, I’ve had enough. I feel like I have achieved my initial goal of relaxing my technique and executing a looser cutting and laying. I’m mostly pleased with the results from this study. I believe №s 5, 7, and 8 are the most successful. It’s amazing how hard I had to work at this!

Secondly, a commission has come my way and I am excited to switch gears and do something that is someone else’s idea for a change. After the commission, I’ve got some ideas for a few art pieces that should take me through the end of the year and I’m really excited about those too! Not sure how I might incorporate the learnings of these studies into future work, but I trust that I will.

So, how did I do? I’ll review this process, study by study, that started in June of this year. My intention was not to create works of art. Rather, my intention was to define some parameters within which I could explore something different.

№ 1 I was seriously—or so I thought—being less obsessive about my cuts and placement, although it does not at all show. My progress was so minor but it was a first step—a step that showed me that I needed to keep stepping.

The spring clips are fun to work with, but the areas that the placements create are very small and a challenge to fill.

study in moderation 1 texture framed web.jpg

№ 2 I made visible progress on this one, in both the filling of the spring clip areas and the marble background. Still, the cutting overall looks too precise for what I wanted to achieve. As I worked on this, I was fighting every instinct to be more precise—obsessively precise, to not allow some space between the pieces. I felt like it was too loose, too sloppy. My goodness! I was really getting a lot of insight as to my own frame of reference.

The background is Emperador marble and I so 💗 this marble! Just look at all that variation with a single stone!

study in moderation 2 texture framed web.jpg

№ 3 This one was a bit of a backtrack on the previous one. It is a little less loose and more controlled and is certainly not a step forward. I’m not sure why this happened but I think it has something to do with the background design bringing out my inclination for clean, straight lines.

I really do like this one though. I love the marble and travertine mix of the background and the beautiful Mexican smalti. And I love the mixed-direction linear background.

study in moderation 3 texture framed web.jpg

№ 4 I moved forward in this one regarding the spacing of the tessera, however the cutting of the stone background is more precise than I had hoped. I found myself challenged in employing this more formal and complex andamento, as in № 1. However, the smalti sun was so loose that I had to restrain myself from redoing it.

The Azul Bahia granite and blue sodalite were a joy to work with due to the sheer force of their color. Blue rocks! How fabulous Creation is!

study in moderation 4 texture framed web.jpg

№ 5 Alright, a giant leap for Jackie-kind! This one is absolutely loose by my standards. I exaggerated it as much as I could muster and this is the result. I was equally excited and horrified! The horizontal background was easy to execute loosely and not too traumatic, but those leaves nearly gave me an anxiety attack. Okay, a slight exaggeration.

I hesitated to do a tree as I thought it too cliché, but I had done a sun so why not! And I like the way the tree came together.

study in moderation 5 textured framed web.jpg

№ 6 Like № 4, the background spiral has a more relaxed spacing, but overall I think it looks too precisely cut. Again, a somewhat formal and complicated andamento was a bit of an obstruction to achieving what I was shooting for.

I did the background spiral freehand, without an initial design, and it turned out fairly well. I thought that not having a specific pattern might contribute to a looser execution. For the most part, it did not. There are a couple of rough cuts that I would not normally accept, but otherwise it looks fairly precise.

№ 7 I was beginning to feel that the spring clips in such a small format were limiting. It could have been just that I was getting bored—which I easily do—but I felt like I needed to switch gears. And I’m glad I did. This one is definitely progress!

I managed to employ aspects of a more formal, flowing andamento and still achieve a looseness and relaxation. Very happy with this one.

The materials and palette are striking.

study in moderation 7 texture framed web.jpg

№ 8 Just another version of № 8 with a slightly more relaxed spacing but less dynamic background andamento.

Although a very simple, uncomplicated design, I like this one. The mix of materials is very pretty and each compimentary of the others. I find myself surprised that I like this a little more than № 7, which I think is artistically better. Weird!

study in moderation 8 texture framed web.jpg

№ 9 I have no idea where this concept came from and it did not help to advance my goal. I should have continued along the lines of № 7 and № 8 as that would have given me more space to further explore my objective.

The background marble is one that I got years ago from Mosaic Rocks!, from dear Bill Buckingham. It is similar to Emperador but it is call St. Laurent. I find it to be more dense than Emperador and easier to control. It has a similar, if less rich, degree of variation in color.

study in moderation 9 texture framed web.jpg

№ 10 Same concept as № 9 but with a more challenging background andamento. I wanted to see how much of that movement I could express in such limited space.

The concept of large pieces of gold intersected with contrasting wisps of color is visually appealing to me and I may explore it in a larger format at some point.

This one shows no progress beyond № 7 and № 8, which is why I feel I have exhausted the limits of the study at this time.

study in moderation 10 texture framed web.jpg

In summary, I’m very happy that I invested the last three months on this study. I feel it was very worthwhile. And it was fun and liberating to not be trying to make art. I hope I can carry forth more fun and freedom in my future work.

Beneath, in situ using artroomsapp. — *Beneath*, in situ using artroomsapp.

Final Feature Friday: Beneath

August 28, 2020 in Feature Friday

In 2010, I had a very large commission in which I had some really awesome leftover materials—I habitually overestimate. So I made this mosaic with some of those materials.

I really liked the way that a component of the commission turned out and repeated and expanded it in this mosaic, Beneath. What I call veins, or the thin, dark tree-like element which you can see below, were made with a very similar composition of materials as Beneath. The inspiration was the mining history of the area.

Daytime and Dreamtime (2011) Commission for Northeastern Oklahoma Agricultural and Mechanical College (NEO) in Miami, Oklahoma, facilitated by Oklahoma Art in Public Places (OAIPP). Two diptychs. Each diptych 106" h x 36" w | 264 cm x 91 cm. Marble, smalti, porcelain, mosaic gold, glass, minerals, stone.

Beneath (2011) 6" x 14" | 15cm x 36cm. Smalti, pyrite, galena, tektite, lava rock, ruby, black tourmaline, jasper, obsidian, red tiger eye, tiger iron, shell, agate, hematite, millefiore, glass, mosaic gold, porcelain, geode, driftwood, nail. In a p… — *Beneath* (2011) 6" x 14" | 15cm x 36cm. Smalti, pyrite, galena, tektite, lava rock, ruby, black tourmaline, jasper, obsidian, red tiger eye, tiger iron, shell, agate, hematite, millefiore, glass, mosaic gold, porcelain, geode, driftwood, nail. In a pivate collection.

This will be my last Feature Friday post. I’ve been at it since early January and, frankly, I am out of work to feature. I’ve only been featuring work that could be nicely staged using the Artrooms app, which is more suited to larger works. A lot of my smaller pieces just did not work well.

I’m relatively new to Instagram so I may start over there.

Sold and Sold!

August 26, 2020 in General, Study in Moderation

On their way to their new homes! Thank you, thank you, thank you for supporting my work and for the support of the medium of mosaic!

Study in Moderation № 5 (2020) 9” x 7” | 21cm x 18cm. Marble, smalti, framing spring clips. — *Study in Moderation № 5* (2020) 9” x 7” | 21cm x 18cm. Marble, smalti, framing spring clips.

Study in Moderation № 7 (2020) 9” x 7” | 23cm x 18cm. Marble, smalti, turquoise, mosaic gold. — *Study in Moderation № 7* (2020) 9” x 7” | 23cm x 18cm. Marble, smalti, turquoise, mosaic gold.

Remembering Istanbul, in situ using Artroomsapp — *Remembering Istanbul,* in situ using Artroomsapp

Feature Friday: Remembering Istanbul

August 14, 2020 in Feature Friday

In 2010, I visited Istanbul for about a week and participated in a mosaic intensive with Sonia King. This mosaic was the project I started while there. I finished it at home shortly after returning.

The background moons, defined by an absence of material, were very tricky. Trying to maintain the flow through them was quite difficult, and required a lot of cutting of angles and odd shapes. The cuts had to be pretty precise to clearly define the moons.

Remembering Istanbul (2010) 11" x 12" | 28cm x 30cm. Smalti, porcelain, travertine, vitreous, mosaic gold. — *Remembering Istanbul* (2010) 11" x 12" | 28cm x 30cm. Smalti, porcelain, travertine, vitreous, mosaic gold.

Remembering Istanbul, detail — *Remembering Istanbul*, detail

Impromptu in Green, in situ using Artrooms. — *Impromptu in Green*, in situ using Artrooms.

Feature Friday: Impromptu in Green

August 07, 2020 in Feature Friday

This mosaic was my first one using framing spring clips. I did two others with the same gradation theme and they are all three in a series titled Impromptu. It is on my to-do list to do at least one more in this series, but my gosh! So many ideas, so little time!

I call them impromptus because the design follows from a playing with the spring clips to form some kind of arrangement. For example, I chose green for this mosaic because the arrangement of spring clips made me think of a stream in the woods.

Impromptu in Green (2008) 15" x 8" | 38cm x 20cm. Smalti, porcelain, glass, hardware. In a private collection. — *Impromptu in Green* (2008) 15" x 8" | 38cm x 20cm. Smalti, porcelain, glass, hardware. In a private collection.

Impromptu in Green, detail — *Impromptu in Green*, detail

MAO Minis

August 05, 2020 in General

Beginning in January 2008, I participated in the Mosaic Artists Organization Yahoo group (MAO) annual monthly challenge. I only made it halfway through the year before getting distracted with other projects. Each month was a different theme, otherwise there were no specific requirements. So I decided to make minis.

The May challenge was Memoryware. I confess I did not know what Memoryware was at that time. Oh well.

I’ve just added the four available pieces to my Small Works that are available for purchase. You can take a closer look at them here.

Untitled (circa 1998) Handmade porcelain decorative tiles, vitreous, glass beads.

The Mystery Atop The Mosaic

August 02, 2020

Way back when, in 1998 or so, a friend gave me the decorative tiles that she had picked up for me on one of her travels. Of course, they became the above mosaic. The substrate is cement board and I used thin set as both adhesive and grout. The mosaic has been hanging outside since then. I probably brought it in a couple of winters, but have not for years. It has held up very well.

A couple of weeks ago, I was sitting on the porch in the late afternoon and noticed something wedged between the top of the mosaic and the pergola beam. I took a closer look but could not discern what it was. I thought it was some kind of cocoon or something. Early the next day, I went out with a step ladder to take a closer look, but it was gone.

Yesterday afternoon, my husband and I were out on the porch and I saw it again. He, being taller than I, was able to get a closer look and discern what it was. He took a good close-up pic.

Can you tell what it is yet? Here’s another:

No Such Thing As Time, in situ — *No Such Thing As Time*, in situ

Feature Friday: No Such Thing As Time

July 31, 2020 in Feature Friday

This mosaic just might be my favorite of all the ones I’ve made. And I’m not sure why.

As you may know, I’ve been exploring a looser, more relaxed execution technique the last few weeks. And, as you may also know, I’ve been flirting with trying to do this since about 2012. This work is one in which I was trying to do that. I can see some hints of a looser technique, but unless you are very familiar with my work as a whole, it probably is not obvious.

No Such Thing As Time (2012) 8" x 22" | 20cm x 56cm. Marble, porcelain, mosaic gold, broken china, sodalite, turquoise, malachite, onyx. A 'four seasons-inspired' group. Each panel 4" x 4" | 10cm x 10cm. — *No Such Thing As Time* (2012) 8" x 22" | 20cm x 56cm. Marble, porcelain, mosaic gold, broken china, sodalite, turquoise, malachite, onyx. A 'four seasons-inspired' group. Each panel 4" x 4" | 10cm x 10cm.

So why is this my favorite? For one thing, it started with just the right-most piece. I was not thinking of doing a four seasons-inspired group when I started. I love neutrals and that explains the palette. I was happy with that first one, and somehow it became the group that it is now. It was spontaneous. I also did not have in mind to have them flow into each other, but that came along spontaneously as well.

I think I like this so much because of its spontaneity, and because, even though they are not compulsively precise, I could be happy with them. Perfectionism is a component of my compulsion for precision, so it was a big deal for me to be able to both accept less precision and like the outcome.

No Such Thing As Time, textural view — *No Such Thing As Time*, textural view

(2020) Trans Frequency № 2, Lesbian Frequency № 3, Agender Frequency, Pride Frequency № 2. Each 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement. — (2020) *Trans Frequency № 2, Lesbian Frequency № 3, Agender Frequency, Pride Frequency № 2.* Each 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement.

Feature Friday: Trans, Lesbian, Agender, Pride Frequencies

July 24, 2020 in Frequency Series, Feature Friday

Last year, I got this idea to express the Pride flag colors as a frequency. No idea where the idea came from, but I thought it was interesting and made Pride Frequency № 1 and then Trans Frequency № 1 (see below). I used vitreous glass, cut in strips and laid on its side.

(2019) Pride Frequency № 1. 7” x 9” | 18cm x 23cm. Vitreous glass, colored cement. — (2019) *Pride Frequency № 1.* 7” x 9” | 18cm x 23cm. Vitreous glass, colored cement.

(2019) Trans Frequency № 1. 8” x 11” | 20cm x 28cm. Vitreous glass, colored cement. — (2019) *Trans Frequency № 1.* 8” x 11” | 20cm x 28cm. Vitreous glass, colored cement.

After making these, I wanted to make a few more but I did not want to use vitreous. I wanted to find a better way of executing them because there were some issues with these first two.

I was not completely happy with the variations in the thickness of the pieces, primarily the result of being from different manufacturers or batches. Also, it is difficult to get a level bottom when cutting into strips and trimming off the miter. And I just wanted a straighter line.

So, I thought about using Kismet glass. I had used some on a previous project and felt that it was much better suited for this concept.

(2020) Lesbian Frequency № 3. 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement. — (2020) *Lesbian Frequency № 3*. 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement.

(2020) Trans Frequency № 3. 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement.

agender framed web.jpg — (2020) *Agender Frequency* 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement.

Pride Frequency № 2. 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement. — *Pride Frequency № 2.* 9.5” x 11.5” | 24cm x 29cm. Kismet glass, colored cement.

After making the LGBTQ-themed pieces, I wanted to further explore the frequency concept and decided to do so with emotional states. Hence, my Interior Frequencies.

Interior Frequencies (2020) 31” x 68” | 79cm x 173cm. Each 9” x 12” | 23cm x 30 cm. Kismet glass, colored cement. Left to right: Depression, Invisible, Guilt, Hopeless, Conflicted, Self-loathing, Shame, Dread, Rage, Loss, Humiliation, Over… — *Interior Frequencies* (2020) 31” x 68” | 79cm x 173cm. Each 9” x 12” | 23cm x 30 cm. Kismet glass, colored cement. Left to right: *Depression, Invisible, Guilt, Hopeless, Conflicted, Self-loathing, Shame, Dread, Rage, Loss, Humiliation, Overwhelmed.*

Mosaic Clock, circa 2003. 11.5” diameter | 29cm diameter. Antique china, Van Gogh glass, vitreous.

Time Traveler

July 14, 2020 in General

I blogged about this clock a while back and you can read that post here.

I took the photo at a bit of an angle to try to bring out the gold highlights on the dishes, but it remains elusive.

A few weeks ago, I repaired and reinforced the edge, and replaced the clock mechanism. Then I had to decide what to do with it. It did not feel right to add a used clock to my decor site. My husband suggested donating to his church and we both felt his mother—original owner of the clock but now deceased—would have liked the idea.

So, it traveled to Egypt and back, and will now reside in the Saints Peter and Paul Coptic Orthodox Church. That’s a good resting place for this time traveler.

Feature Friday: Windows

July 10, 2020 in Feature Friday, General

Do you ever feel like there are just too many ideas to play around with? I got into this idea of multi-planed mosaics, hence my Levels Series. I wanted to do more with it, and still do, but I keep going other directions.

This mosaic, Windows, is the last piece I did in that series. Actually, I did do one more but it has been banished.

Windows (2013) 17.5” x 9.5” | 45cm x 24cm. Marble, smalti, mosaic gold.