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.

Marble and Gold Vase/Bottle (2019) 18.5” x 6” | 47cm x 15cm. Marble, acid green mosaic gold. — *Marble and Gold Vase/Bottle* (2019) 18.5” x 6” | 47cm x 15cm. Marble, acid green mosaic gold.

Marble and Gold Vase: A Closer Look

August 04, 2020 in Video

I’m getting so COVID-lonely that I’ve decided to make some videos so that I can talk to somebody. 😎

Here is a short little closer look at this vase/bottle that I mosaicked last year. The size of it says “vase,” but the narrow spout says “bottle.”

You can read my posts about making this here, here, and here.

It is available for purchase and I have recently added it to my shop.

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:

Study in Moderation № 6

July 31, 2020 in Study in Moderation, New Work

This will be the last one with spring clips. I’m going to switch gears and do something different. The plan is to make six more, continuing to work at a more relaxed execution technique.

Study in Moderation № 6, alternate lighting — *Study in Moderation № 6*, alternate lighting

I really like these colors. The smalti is Chinese, from Peace, Love and Smalti, who I believe is not in business anymore. The exact color is unique and I have not found it in Italian smalti.

The spiral was free-hand. I did not decide on the background andamento until I had already mosaicked the pinwheel. Drawing the spiral at that point was more complicated than what I want this series to be, so I thought: What the heck! Let’s see how well I can do.

Study in Moderation № 6, detail — *Study in Moderation № 6*, detail

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.*

Study in Moderation № 5

July 23, 2020 in New Work, Study in Moderation

Oh my! I’ve got some serious loose going on here.

study in moderation 5 textured framed web.jpg

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

I was talking with my musician son about my objective for these studies, and how I really feel like I am relaxing my technique as I work, but then they still look too controlled. He shared with me some advice that his college piano professor gave him when he was trying to develop a new playing technique. The advice was to really exaggerate it to the point where it feels too exaggerated, and then it would be right.

On this one, I followed that advice. What do you think?

Study in Moderation № 5, side perspective

Study in Moderation № 4

July 15, 2020 in New Work, Study in Moderation

After further consideration, I have concluded that the previous piece, #3, is a bit of a setback from #2 with regard to my objective of loosening up. I’m just amazed—and amused— at how challengingly this whole loosening up experiment is going.

Study in Moderation № 4 (2020) 9” x 7” | 23cm x 18cm. Granite, sodalite, smalti, framing spring clips. Indirect, exterior lighting from above. — *Study in Moderation № 4* (2020) 9” x 7” | 23cm x 18cm. Granite, sodalite, smalti, framing spring clips. Indirect, exterior lighting from above.

I did the smalti first and almost tore out that circular, sun-like area; I thought it was TOO loose, too sloppy. I had decided to do that but forced myself to leave it be. Such discipline! 😎 I chose this andamento because I wanted to be able to compare it to #1, and I believe this comparison does show some progress. What do you think? Maybe I am just seeing what I want to see.

Study in Moderation № 4, indirect exterior lighting from above — *Study in Moderation № 4,* indirect exterior lighting from above

I am encouraged with this #4. It has the degree of looseness as does #2, although the cuts still look too neat, too controlled. I am confident that I have not backtracked. On to #5.

Study in Moderation № 4, side perspective — *Study in Moderation № 4*, side perspective

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.

Study in Moderation № 3

July 09, 2020 in New Work, Study in Moderation

So, this one is not as loose as I had originally intended, but it is not a backtrack from #2. That is some kind of progress. I complicated things a bit with this background andamento; it is trickier than it may seem. Still, it did not take me as long as if I were working in my usual, more exacting manner. I like that.

Study in Moderation № 3, lighting from above — *Study in Moderation № 3*, lighting from above

I absolutely love this mix of red marbles and travertine. Just love it!

On to the next one, on which I am determined to push the looseness envelope a bit further!

Study in Moderation № 3, side perspective — *Study in Moderation № 3*, side perspective

Study in Moderation № 3, in progress

July 06, 2020 in WIP, Study in Moderation

Gorgeous Mexica smalti! Can you believe that this range of shade and color is all from one color? I think it’s # 213-Coral and Cream. Let’s see if I can do it justice with the stone background.

Study in Moderation № 2

July 03, 2020 in New Work, Study in Moderation

This is my second attempt at relaxing my cutting and laying execution. I am a step—or a mosaic—closer to reaching my objective, but I’m not there yet. This is much looser for me in both precision of cuts and laying of the pieces. Still, I found myself lining things up too much and had redo to relax some of my background rows. And, I did not exactly end up, at the top, where I started at the bottom, did i?

Ah well, I have made a wee bit more progress. It is interesting how difficult it is change my habit of working, my sensibility of how it should be done. I’m not trying to change things permanently—there is a time and place for precision—but just to explore less precision when it is not necessary.

The spring clips make such graceful and elegant lines, so it will be fascinating to see how relaxed I can get in working around the clips. They seem to almost call for a refined approach. This one is less refined than the first one.

*Study in Moderation № 2, side perspective*

Since about 2012, I have flirted with trying to relax my execution style. I would do a couple of pieces with this objective, but somehow would drift back to something that I felt needed more precision.

For now, I’m tired of that kind of precision, the kind that I began to feel was in charge of me. I guess what I’m trying to do is change my relationship with precision so that it is not my standard way of working, but an approach that I may or may not choose to employ. First I’ve got to kick the habit.

I was talking with a friend and fellow mosaicist the other day and we were talking about exercising a lot of control in our mosaic execution. I was saying how I was determined to learn to relax my technique, that I was going to learn to control my precision by making it sloppy.

That seems to be the gist of it.

Impromptu in Red: Bad Action Blade Wheel, in situ — *Impromptu in Red: Bad Action Blade Wheel*, in situ

Feature Friday: Impromptu in Red

July 03, 2020 in Feature Friday

Impromptu in Red: Bad Action Blade Wheel (2015) 17.5" x 11.5" | 44 cm x 29 cm. Smalti, porcelain, vitreous, framing spring clips, hardware, jasper. Available. — *Impromptu in Red: Bad Action Blade Wheel* (2015) 17.5" x 11.5" | 44 cm x 29 cm. Smalti, porcelain, vitreous, framing spring clips, hardware, jasper. Available.

This arrangement of framing spring clips reminded me of some kind of nasty saw blade or James Bond-ish specialty weapon.

It made me think of the Tibetan Buddhist My Bad Action Blade Wheel practice. I blogged about it when I finished up this piece in 2015, and you can read about it here.

Study in Moderation № 2, in progress

June 30, 2020 in WIP, Study in Moderation

This is my second attempt to achieve the ever elusive something different, something looser.

I sheared the smalti to give it a less polished surface quality. Shearing also makes precision cuts trickier so that is hopefully to my advantage.

Now I will work out my background andamento, striving for something more casual than is my habit.

Echos In Time № 2, in progress

June 29, 2020 in WIP, Study in Moderation

This is my second attempt at that elusive something different. This morning, I added two more spring clips, thatt I thought would make it more balanced, so I have the two more areas to fill. I’ve not glued the pieces yet.

The shape made me think of a tree or a plant of some sort, but it also kind of looks like a person-like being dancing, don’t you thing? Horizontally, it looks a little like a strange, Seuss-like bird. But I went with the tree inspiration and chose the green. The background will be primarily one of my favorite marbles: emperador brown.

I’ll decide the orientation when I work out the background andamento, but it’s feeling portrait.

Study in Moderation № 1

June 27, 2020 in New Work, Study in Moderation

This is the first in this experimental series so I don’t want to fuss about it too much. As I posted earlier, I fell short of my objective, for the most part. I achieved a somewhat more relaxed cutting approach, which is my primary objective, so I’m calling it a good start.

Study in Moderation № 1, lighting from top — *Study in Moderation № 1,* lighting from top

I’m making this a subset of my Impromptu Series because the design process fits the series. The work follows from an impromptu playing with the spring clips. The resulting arrangement then drives all other design choices.

Study in Moderation № 1, side perspective — *Study in Moderation № 1*, side perspective

Subtleties, in situ — *Subtleties*, in situ

Feature Friday: Subtleties

June 26, 2020 in Feature Friday

Here’s an oldie from 2008.

Hmm, I just can’t think of much to say about it.

Subtleties (2008) 19" x 31" | 48cm x 79cm. Marble, Mosaic gold, porcelain, quartz crystal, mother of pearl, moonstone, glass, Swarovski crystal, pearls. — *Subtleties* (2008) 19" x 31" | 48cm x 79cm. Marble, Mosaic gold, porcelain, quartz crystal, mother of pearl, moonstone, glass, Swarovski crystal, pearls.

Study in Moderation № 1, in progress

June 25, 2020 in WIP, Study in Moderation

Well, this one is a mixed bag. This is not what I intended or desired. This is not loose. Not at all. Partly, this andamento inhibits me from working loosley. Clearly, I chose the wrong andamento. And partly, my nature inhibits me from working loosely. Both of these things I believe I can and will do something about.

It may not look like it, but I was more relaxed about my cuts. This tells me that when I fuss more about my cuts, it really may not buy me very much. Still, I am surprised at how acceptable the cuts are with me having a more relaxed attitude about it. No grinder, no fussing.

Still, I am disappointed with this. I wanted to do something different than what I normally would do, and this is not different. But I shall persist. I will finish this one and try again.

*In the Woods Series: Trespassing Left: top lighting; right: front lighting*

Trying to Capture Texture in Photos

June 24, 2020 in Informative

I’ve been taking most of my own photos throughout the years. I’ve learned a few things just by way of trying. I have primarily photographed my mosaics on my back porch early in the morning in indirect light. I would either lean them or lay them flat on the ground. I managed to get pretty good front-on shots.

A few years ago, I was photographing the above work in this manner. I leaned it on our kitchen windowsill. It must have been closer to noon, with the sun overhead, and the effect was to provide lighting from above, as opposed to from the front. The difference was remarkable. This happy accident showed me a way to capture texture which I had clearly not been thinking about before. The image on the right looks flat in comparison, don’t you think?

This morning, I reshot my Rhythms series’ January and February, below. A few weeks ago, I had hung them in my studio bathroom beneath a skylight. The images on the left are from 2008. What a difference, eh?

January, top lighting — *January*, top lighting

January, front lighting — *January*, front lighting

February, top lighting — *February*, top lighting

February, front lighting — *February*, front lighting

Below is another example. I like both of these images for different reasons. The one on the left shows some texture, while the one on the right highlights the metallic reflection of the turquoise gold. I’m guessing that if I were a more experienced photographer, I might be able to capture both the texture and the gold reflection in a single photo.

A Little Love Story, top lighting — *A Little Love Story*, top lighting

Now I really pay attention and try to get top-lighting on my mosaics with a textural surface. Sometimes it works better than others. Anyone have any tips to improve capturing texture in mosaics?