Q & A
As an artist I am often asked to write about my experiences in mosaics, and my thoughts on mosaic practice. As an educator I am open to sharing my knowledge.
If you would like to pose a question please do so through my CONNECT form.
Question: What is the best advice you would like to give to beginners?
Asked by: Francessca O'Donnell, MAANZ NSW Rep.
My advice to beginners is to find a teacher who you connect with and to take your time with learning. Then supplement this learning with workshops from other teachers in mosaic and other art forms to diversify your knowledge. There is no ‘One way’ or ‘One teacher’. Knowledge is best gathered slowly from a range of sources. Do not try to rush, jump ahead and overcomplicate things. Aim to learn one thing from each piece. Keep work small at the beginning, as your development and understanding will grow quickly. Mosaic would have to be one of the most painstakingly slow art forms, so if you tackle a large work too soon, by the time you reach the end of it, you will want to rework the beginning as you will be able to see where you went wrong. Use a visual diary all the time. Take it to classes every week – write down advice, tips, tricks and use drawing to solve problem areas in your mosaic. Use it to collect inspiration from other sources such as painting, photography, music, poetry, current affairs etc. Keep abreast of what’s happening in the world of mosaics and visual arts. Try to see as many exhibitions as you can. Our society seems to have an intrinsic requirement to either ‘like’ or ‘dislike’ artworks. Let go of that completely, and instead examine their qualities from a technical, material, or conceptual viewpoint and see what you can learn from it. Remember it’s not a requirement that you like everything or that everyone will like what you do.
What are your favourite techniques to impart to students?
Asked by: Francessca O'Donnell, MAANZ NSW Rep.
I am a strong believer in students learning the foundations of mosaic as well as the foundational elements and principles of Visual Arts. If you think about mosaic as a creative language similar to music or dance, it is absolutely critical to fully grasp the basics of the language. Andamento is to mosaic what scales and timing are to music. Once these things are understood and practiced, the artist can start to introduce their own flavour, gesture and expression. Even if tradition is discarded all together, the foundations of art and mosaic remain as expressive tools to be cleverly manipulated. I try to teach techniques as relevant to each student’s learning continuum so there is not one specific technique that stands above all others.
What attracted you to mosaics?
Asked by: SamanthaTannous, Arts Muster Coordinator, for Arts Muster Blog
I came to mosaics after completing my degree in Sculpture and Drawing.
I too started with a decorative approach, working on two dimensional substrates and using vitreous glass and porcelain tiles to create patterns and imagery. I was attracted to the meditative nature of the mosaic making process, the piece by piece process of building a composition. There were many parallels with Visual Arts where all the elements and principles of design still applied. One of the key differences between mosaic and other mediums is the way that a mosaic artist cuts or breaks their material. There is something personal about the way each artist breaks their tesserae. They imprint on their material with each cut, revealing its core. This is how a mosaic artist’s language comes to be. They find a way to express, gesture and communicate through the breaking and placement of every tessera.
I particularly enjoy the varied reflectivity of mosaic materials, the way that mosaics constantly change under different light, at different times of day and from different viewpoints. Each material cuts and reflects differently, sometimes the cut complies, and sometimes it does not. This is enhanced by an element of surprise involved when the inside of a piece of glass or stone is revealed.
My turning point with mosaics came when I realized I could bring together my previous sculptural training with my knowledge of mosaic. For me, a three dimensional surface makes mosaic practice infinitely more exciting, complex and engaging. I now enjoy working with sculptural mosaic, teaching mosaic and visual arts and completing commissions for private and commercial clients.
I too started with a decorative approach, working on two dimensional substrates and using vitreous glass and porcelain tiles to create patterns and imagery. I was attracted to the meditative nature of the mosaic making process, the piece by piece process of building a composition. There were many parallels with Visual Arts where all the elements and principles of design still applied. One of the key differences between mosaic and other mediums is the way that a mosaic artist cuts or breaks their material. There is something personal about the way each artist breaks their tesserae. They imprint on their material with each cut, revealing its core. This is how a mosaic artist’s language comes to be. They find a way to express, gesture and communicate through the breaking and placement of every tessera.
I particularly enjoy the varied reflectivity of mosaic materials, the way that mosaics constantly change under different light, at different times of day and from different viewpoints. Each material cuts and reflects differently, sometimes the cut complies, and sometimes it does not. This is enhanced by an element of surprise involved when the inside of a piece of glass or stone is revealed.
My turning point with mosaics came when I realized I could bring together my previous sculptural training with my knowledge of mosaic. For me, a three dimensional surface makes mosaic practice infinitely more exciting, complex and engaging. I now enjoy working with sculptural mosaic, teaching mosaic and visual arts and completing commissions for private and commercial clients.
What is the greatest advice you have for people entering mosaic competitions?
Asked by: Francessca O'Donnell, MAANZ, NSW rep.
Read the information.. Read the information.. Read the information!!
Then carefully follow the instructions and do not skip or ignore anything.
If you don’t understand then read it again, or ask the competition organisers for advice.
The quality of any images submitted is critical. Ensure you spend time getting the best images you possibly can.
Try to plan your competition and exhibition schedule at least 6-12 months in advance. Pick a range of exhibitions to enter, some that are ‘Open’ and straightforward where you can show existing work, and then some that require new work, and may be just beyond your grasp to give you something to aim for. If you get rejected don’t give up. Everyone gets rejected so don’t take it personally. Do not expect to win, or agree with the judges’ choices for prizes.. I rarely agree.. unless I am the judge! On those occasions I’m quite sure that not everyone will agree with my choices, but that’s how it is.
Then carefully follow the instructions and do not skip or ignore anything.
If you don’t understand then read it again, or ask the competition organisers for advice.
The quality of any images submitted is critical. Ensure you spend time getting the best images you possibly can.
Try to plan your competition and exhibition schedule at least 6-12 months in advance. Pick a range of exhibitions to enter, some that are ‘Open’ and straightforward where you can show existing work, and then some that require new work, and may be just beyond your grasp to give you something to aim for. If you get rejected don’t give up. Everyone gets rejected so don’t take it personally. Do not expect to win, or agree with the judges’ choices for prizes.. I rarely agree.. unless I am the judge! On those occasions I’m quite sure that not everyone will agree with my choices, but that’s how it is.
Which mosaic artists inspire you?
Asked by: Francessca O'Donnell, MAANZ, NSW Rep
My two favourite mosaic artists are Marco de Luca and Verdiano Marzi. In my opinion these Maestros are examples of pure mosaic genius. Their practice is so established and their language so intuitive and gestural. I find their work sublime. I had the wonderful opportunity to visit Marco de Luca’s studio in Ravenna and it was akin to a spiritual experience. The energy and visual vibration of his work, as well as the way he thinks about mosaic still inspires me today. I also had the fabulous opportunity to learn from Verdiano Marzi at the Chicago Mosaic School as the recipient of the 2018 SAMA Robin Brett Scholarship. He is a tender soul, and a kind and generous teacher. His work clearly demonstrates his view of mosaic being placed firmly within the world of art. He considers the act of making of mosaics a privilege. He works straight from the heart and even at a mature age he pauses in wonderment at the process. His thorough understanding of visual arts is embedded in his mosaic practice.
Mosaic is an ancient art form but it seems to be having a resurgence lately - what do you think is influencing this?
Asked by: Samantha Tannous, Arts Muster Coordinator.
After falling out of favour at the end the Byzantine Period, due to the Renaissance focus on Sculpture and Painting, mosaic is now enjoying a major worldwide resurgence. The Renaissance saw mosaic put into the service of painting, often used to make replicas of frescos as mosaic’s colours are permanent and the product longer lasting. At this time, when the focus of mosaic was reproduction, the quality of the mosaic surface began to disappear, as mosaics were made seamless to appear as if they were paintings. Sadly, this caused the fractured quality of the material to be lost. This fracturing is the very essence of mosaic; it’s what sets it apart and makes it, by definition, a mosaic.
Mosaic regained prominence in early Modernism during the Vienna Secession with artists such as Klimt and the creation of the Gesamtkunstwerk; a building created as a total work of art, including mosaics, and again with Gaudi and his use of mosaic to adorn architectural structures. In modern times in Australia, with the exception of some professional and established commercial mosaic studios such as Melbourne Mural Studio, the predominant style of mosaic has been functional applications and or decorative approaches where mosaics designs are often pattinated, pictorial or whimsical in nature. Until more recently, with some exceptions, there has been limited understanding of mosaic traditions and language in the Australian mosaic landscape. In the last twenty years, this has begun to change with a growing number of professional artists and artisans engaging with mosaic as their preferred medium. Most of these artists have come to mosaic through other creative or academic avenues and are using mosaic to communicate timely and relevant ideas.
There is an increasing number of Australian artists making a significant and lasting impression on the national and international mosaic scene and frequently being represented in solo and juried exhibitions within the contemporary art and craft scene both within Australia and internationally, including but not limited to Canada, USA, Japan, Italy, France and the UK. Some of the contemporary Australian mosaic artists exemplifying excellence in practice and worthy of further investigation by interested students are Helen Bodycomb, Pamela Irving, Rachel Bremner, Marian Shapiro, Kate Butler, Bev Plowman, Cetta Pilati, Wendy Edwards and Tony Bowen.
Just as we have seen an elevation in ceramics, textile and glass art in contemporary practice, mosaic is following suit with artists calling on their chosen media to effectively communicate their line of enquiry. For many artists, across many disciplines, the intention has shifted from focusing on the ‘What’ to also encompass the ‘Why’.
Mosaic regained prominence in early Modernism during the Vienna Secession with artists such as Klimt and the creation of the Gesamtkunstwerk; a building created as a total work of art, including mosaics, and again with Gaudi and his use of mosaic to adorn architectural structures. In modern times in Australia, with the exception of some professional and established commercial mosaic studios such as Melbourne Mural Studio, the predominant style of mosaic has been functional applications and or decorative approaches where mosaics designs are often pattinated, pictorial or whimsical in nature. Until more recently, with some exceptions, there has been limited understanding of mosaic traditions and language in the Australian mosaic landscape. In the last twenty years, this has begun to change with a growing number of professional artists and artisans engaging with mosaic as their preferred medium. Most of these artists have come to mosaic through other creative or academic avenues and are using mosaic to communicate timely and relevant ideas.
There is an increasing number of Australian artists making a significant and lasting impression on the national and international mosaic scene and frequently being represented in solo and juried exhibitions within the contemporary art and craft scene both within Australia and internationally, including but not limited to Canada, USA, Japan, Italy, France and the UK. Some of the contemporary Australian mosaic artists exemplifying excellence in practice and worthy of further investigation by interested students are Helen Bodycomb, Pamela Irving, Rachel Bremner, Marian Shapiro, Kate Butler, Bev Plowman, Cetta Pilati, Wendy Edwards and Tony Bowen.
Just as we have seen an elevation in ceramics, textile and glass art in contemporary practice, mosaic is following suit with artists calling on their chosen media to effectively communicate their line of enquiry. For many artists, across many disciplines, the intention has shifted from focusing on the ‘What’ to also encompass the ‘Why’.
What kinds of materials are used in mosaic, where do they come from and what are they made of?
Asked by: Samantha Tannous, Arts Muster Coordinator
There are many materials that can be used as mosaic tesserae (pieces). Some of these include smalti, vitreous glass, Oro (mosaic gold), porcelain, slate, marble, travertine and other stone, and ceramic tile. However, there are many more non-traditional materials that can be integrated for texture or different effects and varying reflectivity. These may include china, kiln formed glass, hand made ceramic inclusions, repurposed or salvaged materials, found objects, plastics, metals and more. In contemporary mosaic practice, artists are selecting from a broad range of materials based on their provenance, symbolism, how they transform or respond when cut, and how the materials used support the concept being communicated.
I predominantly use smalti, which is a thicker form of glass that is made especially for mosaic. The smalti is made in a glass furnace and poured out to form a pizza like slab of glass. Once cooled, it can be cut down and purchased in several sizes, which are then cut with a Hammer and Hardie or wheeled nippers to achieve the desired shape and size for use in the mosaic. When using Italian smalti, the cut face or inside of the glass is placed facing up or out in the mosaic. This cut face, or riven edge, reflects the light in unique ways because it is not flat. I work with Mexican Smalti from the Perdomo factory as well as Italian smalti from Dona Murano. We have many suppliers in Australia. I also like to use stone, salvaged materials, hand formed ceramic inclusions, rocks and minerals.
I predominantly use smalti, which is a thicker form of glass that is made especially for mosaic. The smalti is made in a glass furnace and poured out to form a pizza like slab of glass. Once cooled, it can be cut down and purchased in several sizes, which are then cut with a Hammer and Hardie or wheeled nippers to achieve the desired shape and size for use in the mosaic. When using Italian smalti, the cut face or inside of the glass is placed facing up or out in the mosaic. This cut face, or riven edge, reflects the light in unique ways because it is not flat. I work with Mexican Smalti from the Perdomo factory as well as Italian smalti from Dona Murano. We have many suppliers in Australia. I also like to use stone, salvaged materials, hand formed ceramic inclusions, rocks and minerals.
Have you travelled to some amazing places to see mosaics? Tell us about that?
Working and teaching in mosaic has enabled me to travel to and participate in conferences, symposiums and tours around the world. As you would expect, Italy is a major centre for experiencing mosaics and for me, the two most exciting and inspiring places are Ravenna and Aquileia. In fact, these two cities are the inspiration behind the two courses that I am running at Arts Muster this April.
Ravenna and Aquileia are both Unesco World Heritage sites and both famous for their mosaics. Ravenna is well known for its Byzantine mosaics in Smalti. Aquileia is known for its earlier Roman mosaics in marble.
Smalti mosaic came to prominence in the Byzantine era when it was used to adorn the ceilings and walls of churches and other buildings. One of the most special Byzantine examples is the mosaics inside the Mausoleum of Galla Placidia in Ravenna. From the outside, this small unassuming brick building is bland and the exterior unadorned. There are a few thin, vertical windows made from sheets of alabaster that allow only a small amount of light to enter the building.
Once inside, it is quite dark, but as your eyes adjust, a wonderful, sparkling, glimmering, interior lined with mosaic appears. The perfectly measured amount of light that the windows allow dances and bounces off the surface of the smalti and is enhanced by the abundant use of Oro, which is mosaic gold, made by fusing a sheet of gold leaf between two pieces of glass. Another technique to maximize reflectivity is the deliberate placement of the tesserae (pieces) into the mortar on varying angles. Every single tessera then catches and reflects the light in a different direction. As you move through the space, the reflectivity is in constant motion and the mosaics appear to dance, the effect is truly stunning.
Another particularly exciting place to visit in Italy is a large established school dedicated to mosaic; the Scuola Mosaicisti del Friuli, situated in the North East of Italy in the Friuli region. It is essentially a Mosaic College, where young artisans can learn the styles of Roman, Byzantine and contemporary mosaic art over a three or four year period. I was lucky enough to undertake a short course at the school. My first visit there overwhelmed me so much that I became very emotional. The enormity of the school, the quality of the work and the resources available for this unique art form were simply mind blowing and I am so impressed that the region and local government supports such strong investment in the development and maintenance of young artisans.
Ravenna and Aquileia are both Unesco World Heritage sites and both famous for their mosaics. Ravenna is well known for its Byzantine mosaics in Smalti. Aquileia is known for its earlier Roman mosaics in marble.
Smalti mosaic came to prominence in the Byzantine era when it was used to adorn the ceilings and walls of churches and other buildings. One of the most special Byzantine examples is the mosaics inside the Mausoleum of Galla Placidia in Ravenna. From the outside, this small unassuming brick building is bland and the exterior unadorned. There are a few thin, vertical windows made from sheets of alabaster that allow only a small amount of light to enter the building.
Once inside, it is quite dark, but as your eyes adjust, a wonderful, sparkling, glimmering, interior lined with mosaic appears. The perfectly measured amount of light that the windows allow dances and bounces off the surface of the smalti and is enhanced by the abundant use of Oro, which is mosaic gold, made by fusing a sheet of gold leaf between two pieces of glass. Another technique to maximize reflectivity is the deliberate placement of the tesserae (pieces) into the mortar on varying angles. Every single tessera then catches and reflects the light in a different direction. As you move through the space, the reflectivity is in constant motion and the mosaics appear to dance, the effect is truly stunning.
Another particularly exciting place to visit in Italy is a large established school dedicated to mosaic; the Scuola Mosaicisti del Friuli, situated in the North East of Italy in the Friuli region. It is essentially a Mosaic College, where young artisans can learn the styles of Roman, Byzantine and contemporary mosaic art over a three or four year period. I was lucky enough to undertake a short course at the school. My first visit there overwhelmed me so much that I became very emotional. The enormity of the school, the quality of the work and the resources available for this unique art form were simply mind blowing and I am so impressed that the region and local government supports such strong investment in the development and maintenance of young artisans.