08 Summit MAI Info (Deadline Nov. 16) Orsoni Winners

‘08 Summit ... MAI Info (Deadline Nov. 16) ... Orsoni Winners ... All on Pages 10-11
Groutline
Fa l l 2 0 07 • Vo l u m e 8 • Nu m b e r 4
Societ y of
American
Mosaic Ar tists
Art in Public Places, Part 2
Production and Installation:
Muzzling the Big Challenge
By Solomon Bassoff and Domenica Mottarella
In the Summer 2007 issue of Groutline, we discussed how to apply for public art projects and be successful.
We detailed the importance of the following:
Professional quality photographs
Following the instructions of the selection committee
Budget considerations
Communication skills with public entities
How to get your first public art commission
From The President
Books By Our Members Excursions SAMA News
Celebrity Mosaic
2
4
4
10-11
12
Feature
Public Art, Part 2
6-7
Departments
As soon as the approval for a particular project arrives, you will be challenged by another set of circumstances during production and installation. Inside Groutline
Story continued on pages 6-7
Inspiration: MOREart! Project
Artist Profile: Irina Charny
Ask A Pro: Hammer and Hardie
Step-By-Step: B-Cut Smalti
3
5
8
9
From The President
SAMA
Board and Officers
As you can see, Groutline has a new look!
After five years of dedicated
Officers
President
Karen Ami
Vice President
Rhonda Heisler
Secretary
Bonnie Fitzgerald
Treasurer
Teresa Sullivan
service, editors George Fishman and Nancy Ancrum and designer Nancy Ross
completed their term at the close of the Summer 2007 issue. We offer sincere
gratitude to them and also to Kay Dresser, our reliable production supervisor.
Board of Trustees
Bill Buckingham
Sue Giannotti
Susan Jeffreys
Sheilah Jewart
Dedra Lipscomb
Julie Richey
Gwyn Rowland
Andrea S. Taylor
We welcome Groutline’s new staff, Barbara Coots and Barbara Dybala. “The Barbs” will bring
you content that is of importance to you: artist features, site-specific projects, technical issues
and new regular features, including “Inspiration” and “Artist Profile” pages. As always, we are
Executive Director
Dawnmarie Zimmerman
Membership Director
Sue Giannotti
Operations Manager
Chris Forillo
Advisory Board
Lori Greene
Volunteer Coordinator
Yvonne Allen
Groutline
STAFF
looking for submissions and story ideas, so don’t
than 900 artists, experts, enthusiasts, community
be shy. Take a look at our submission guidelines at
groups and mosaic businesses together in one
www.americanmosaics.org. Photographers, this
place: www.americanmosaics.org.
Congratulations to our members who are
includes you—eye candy, we want eye candy!
Our board and conference committee are plan-
organizing and participating in regional shows
ning incredible opportunities to meet and work
across the country, raising public awareness
with mosaic artists from all over the world at the
of mosaic art and highlighting its beauty and
American Mosaic Summit in Miami next April. No-
diversity in places such as Boston, Chicago, Dallas
vember 16 is the deadline to enter our Mosaic Arts
and L.A.
International Exhibition, which will be held at the
2B Creative Team
Editorial Director
Barbara Coots
Design Director
Barbara Dybala
Contributors: Yvonne Allen,
Nancy Ancrum, George Fishman,
JoAnn Locktov, William Matthews,
Nancie Mills Pipgras, Julie Richey
Groutline is published quarterly by the
Society of American Mosaic Artists,
P.O. Box 624, Ligonier, PA 15658-0624, to
establish SAMA in the professional arts
community and promote the work of
mosaic art. Editorial queries may be sent to
[email protected].
Bakehouse Art Complex, a big and beautiful venue
board members: Lori Postma and Juanita Canzo-
that will showcase the talents of SAMA artists. See
neri. Being a board member is a lot of work and a
page 10 for a Miami Summit update. Join us!
lot of fun, too (I wouldn’t do this if it wasn’t SOME
As an organization of volunteers bound by our
fun). We are always looking for interested volun-
obsession with mosaics, we have that glue (or is it
teers. Whatever your strengths, there is a place for
thinset?) that binds us together. The world of mo-
you in the SAMA family. Get involved; I can tell
saics is expanding everywhere—in education, in
you from personal experience that it’s awesome.
public art projects, in regional exhibitions and in
mosaic businesses. As recently as eight years ago,
artists around the country were experimenting
Karen Ami
with mosaics using limited, out-of-print “how-to”
President
books and the Internet. Artists were working in
isolation, with no community support or collective information source. Today SAMA brings more
Photo by Gary Coots
Mosaic Rocks
di Mosaico
Design Impact/Mosaictools.com
Jacqueline Iskander Mosaics
Artha’s Mosaics and Supplies
Cooltiles.com
Sonia King Mosaic Artist
MosaicStation.com
MosaicSmalti.com
Mosaic Studio and Gallery LLC
Drucilla M. Perez-Tubens
Xanadu Collection
Mosaic Basics
WitsEnd Mosaics
Besides serving as president of SAMA, Karen Ami is founder
and Executive Director of The Chicago Mosaic School, Professor at The School of the Art Institute of Chicago, amateur boxer,
mama and artist. www.mudhousestudio.com
2B Creative Team
Patron Members
Bill Buckingham
Timothy Falb
Gina Hubler
Jacqueline Iskander
Artha Jackson
George K.
Sonia King
Robin Marks
Lynn Moor
Jane O’Donnell
Drucilla M. Perez-Tubens
Teresa Sullivan
Barbara Vargas
Kim Wozniak
Big thank yous are in order for two outgoing
Barbara Coots and Barbara Dybala
We are the two Barbs, editorial director Barbara Coots (“C” for
copy) and design director Barbara Dybala (“D” for design). We
met in 2003 while working at American Airlines Publishing.
In addition to in-house projects, our work included Grapevine
Today and Coca-Cola’s Landing Zone magazines.
We found that our AAP collaboration was only the beginning. We have continued our friendship and collaborated
on other projects. Barb D, a veteran found art mosaicist, is
a SAMA member who lives in Sunnyvale, just east of Dallas.
Barb C is a mosaic enthusiast from Arlington, home of Texas
Rangers baseball and the upcoming Dallas Cowboys stadium.
We are honored to take over the helm of Groutline beginning
with this issue, and we solicit your story ideas, photographs,
and comments. You may contact us via email:
[email protected].
More! More! MOREart! photos are available at www.americanmosaics.org
Left: Donated items of cultural significance embellish the mural’s borders. Right: Co-directors
Taylor and Moe (second and fourth from right) pose with a band of die-hard volunteers.
Two-Way Community
Building: MOREart!
By Andrea Shreve Taylor
I
t all started in Philadelphia. That’s where
inspired to attempt a community-built public
art project in her town: Fredericksburg, Virginia.
Moe visited the Village of Arts and Humanities, a community-built park filled with mosaics.
The community spirit of the place impacted
her just as strongly as its beauty. She returned
home with the desire to create a mosaic that
would be a catalyst for community involvement. To add to her knowledge of mosaic techniques, she returned to Philadelphia in 2002 to
attend a workshop by Isaiah Zagar.
That’s the same year I met Suzanne Moe. She
shared her vision, and the seeds of collaboration began germinating. By 2005, those seeds
had taken root, and we busied ourselves with
creating a mission statement, knocking around
design ideas and looking for possible installation sites.
We had no funding, no city approval—just the
drive to make a mosaic artwork. We wanted to
involve the community and convey a message
ticipated in completing the mural. We also
had considerable help from SAMA members,
of unity in a city which, although multiculturally diverse, often seemed segregated and disconnected.
We approached a local organization, Multicultural OutReach Effort (MORE), which
serendipitously was looking for a community
Suzanne Moe, SAMA member and co- project to sponsor. We developed a project prodirector of the MOREart! Downtown posal and detailed budget, with Suzanne and
Community Mosaic Mural Project, was first
94, of all colors, creeds and walks of life—par-
me serving as co-directors of the project. In
including Jean Ann Dabb, Bonnie Fitzgerald,
Barbara Smith and Cathy Smith. The group
installed the pieces we had spent the past
months assembling on mesh and adhered the
backgrounds and more free-form elements directly with thinset mortar.
We invited certain individuals to donate
items of personal or cultural significance to be
installed in the margins of the main mural, re-
July 2006 we presented it to MORE, and they
quiring that the items be weather resistant. We
accepted it.
embedded the items in thinset along the sides
To bypass any government red tape, we
narrowed our site search to privately owned
property. A local business donated a promi-
of the wall.
After the main installation week—in preparation for our July 6 unveiling ceremony—
nently located exterior wall for our cause, large
Suzanne and I returned over the next two
enough to accommodate the 32 X 8-foot main
weeks. Aided by a small band of die-hard vol-
mosaic and two 4-foot square mosaics of the
unteers, we tweaked, grouted and cleaned the
MORE logo.
We developed our project with community
mural. The unveiling ceremony was a huge
success, with speakers, free live music and
youth involvement in mind, finally selecting
food—all donated. It was a party to remember,
nine youth team members who applied and
with more than 500 community members of all
competed for the positions. In February 2007,
types celebrating side by side!
we started meeting weekly with the youth, as-
The Free Lance-Star newspaper followed our
sembling parts of the mosaic on mesh. We used
progress, writing several articles and creating a
high-fired, frost-resistant ceramic tile, glass
multimedia presentation about the project. To
gems and mirror as our tesserae for the main
read the articles, see the presentation and learn
mural and vitreous glass for the logo mosaics.
the engaging stories behind each donated item,
Our main install week was June 18-22. During that time, with the youth team serving as
leaders and instructors, over 300 community
volunteers—ranging in age from infants to
go to www.morefredericksburg.org/art.htm.
Andrea Shreve Taylor serves on SAMA’s Board of Trustees. She
lives outside of Fredericksburg, Virginia, with two horses, one
dog, one cat and one husband. www.taylormosaics.com
Society of American Mosaic Artists 3
SAMA members are changing the world ... one small piece at a time.
Globetrotting
Erith Earth Core Columns
Houston, Texas
Imagine having a team of personal
coaches at your immediate access
for mosaic inspiration, technical advice, encouragement and
celebration. That’s a reality for
MOSAICO. The Society of Houston
Mosaic Artists is the brainchild of
a few dedicated artisans who seek
to continue the camaraderie experienced at SAMA events. Current
projects include contributions to
the Houston Food Bank’s “Empty
Bowls” effort and December’s
Holiday Box Show at the Bering &
James Gallery. Visit the website to
learn more: www.mosaico.ws.
Goings-on across the nation reveal the major
resurgence of mosaic work as a fine art form.
Cumberland, Maryland
study of the art form would be
a fitting addition to the Greek
and Rome focus of the school’s
Gilchrist Museum of the Arts
afternoon A.I.M. program—
devoted exclusively to the art form. Advancing Imaginative Minds. No
Inspired by regional networking
less than 22 third-grade students
at the SAMA National Summit,
worked under Parsons’ direction
the show featured the work of 25
for three months to create the fivecontemporary mosaic artists from foot square “Midnight Prodigy,” a
Maryland, Virginia and Washingstunning model of outer space
ton, D.C.
made of thousands of sparkling
pieces of glass, mirror and tile. It
Ettrick, Virginia
When she saw Donna Parsons’ mo- is now publicly displayed at the
saic work at the Visual Arts Center school’s entrance. Read more at
www.americanmosaics.org/pdfof Richmond, Ettrick Elementary
teacher Jackie Coffey thought a
files/Parsons.pdf.
Several SAMA members displayed
work at Mosaics in the Mountains,
a public show at the C. William
Books By Our Members
Mixed Media Mosaics:
Techniques & Projects Using
Polymer Clay Tiles, Beads &
Other Embellishments
North Light Books, Cincinnati, 2007
$22.99
Laurie Mika
Mika’s impressive body of work is marked by her
distinctive technique of combining handmade
polymer clay tesserae with exquisite found objects.
Her book introduces readers to this medium and is
organized into four parts, the first of which outlines
methods of creating and embellishing tiles. Thereafter, the author presents 18 projects ranging from
jewelry to tables and boxes, with the final section
devoted to her signature “mosaicons.” Each project
is described in careful detail and accompanied by
excellent color photographs. Interspersed with
the projects are examples of Mika’s work along
with descriptions of the personal iconography that
defines her mosaics. The “mosaicons” are linked to
the historical tradition of devotional panels with
their ornate surfaces and religious themes, yet
Mika’s symbolism defies easy categorization. In fact,
she encourages readers to communicate their own
story through the selection of texts and images to
accompany the tiles they create.
4 Society of American Mosaic Artists
Jean Ann Dabb investigates three new books
and finds them highly recommendable.
Third graders at Ettrick Elementary School in Virginia show
their individual mosaic renditions of outer space on the
third day of their workshop with Donna Parsons.
Found Art Mosaics
Sterling Publishing Company,
New York, 2007
$24.95
Suzan Germond
Many SAMA members will identify with
Germond’s passion for found objects and
recycled materials. Her book provides an
excellent learning opportunity for novices
who have longed to venture into the world
of mixed-media mosaics, as well as remind
seasoned mosaicists of the pleasures that can be
experienced and the ideas that can be sparked
when encountering the vision of a kindred spirit.
The book begins with brief descriptions of mosaic
basics (materials, surfaces, grout, etc.) followed
by 29 project descriptions that you can execute
according to instructions or use as starting
points for individual experimentation. Whether
repurposing an old bath tub or adorning a
pre-made photo frame, Germond reveals
her sense of whimsy, so appropriate when
one encounters unpredictable materials
acquired in venues ranging from thrift shops
to online auctions.
Photo by Jackie Coffey
U.S. Excursions
London-based artist Gary Drostle
recently installed five columns in a
pedestrian underpass in Erith, Kent
(UK) as part of a Thames River corridor
redesign project. The columns, which
took the better part of a year and
cost £100,000 to complete, explore
the passage of time as illustrated
through the earth’s layers. They are
the result of collaboration between
Drostle, artist Onya McCausland,
local school children and other
developmental artists.
Mosaic Patterns: Step-by-Step
Techniques and Stunning
Projects
Trafalgar Square Publishing
North Pomfret, 2006
$24.95
Emma Biggs and Tessa Hunkin
The collaboration of Biggs and Hunkin has resulted
in another excellent publication that offers 19
projects with step-by-step instructions. A brief and
helpful introduction covers the basics of materials,
equipment and techniques. Among the projects
are mirrors, table tops and three-dimensional forms,
all especially well-illustrated by photographs of
the crucial phases in each process. The designs are
distinguished by superb compositions and subtle
color harmonies—both hallmarks of the artists’
reputations. The detailed project descriptions offer
instruction that is appropriate for all skill levels, with
a focus that concerns the design principle of pattern.
Biggs and Hunkin offer advice about how one can
introduce variation amid repetition, combine the
figural with the abstract and control the dynamic
interplay between tesserae and interstices.
Jean Ann Dabb, former SAMA board member, teaches art history and mosaics at the University of Mary Washington in
Fredericksburg, Virginia.
“Art is born of the observation and investigation of nature.” - Cicero
Irina’s Show Advice
Photo bY Ben Charny
Do your research
Visit the festival or show
Talk to the artists
Think about sales expectations
Make contacts for commissions
Build a mailing list
Have the best possible photographs
Show your best work
“In Laguna, the jury sees the images
projected for about three or four seconds.
You have to make those seconds count.”
Artist Profile
Irina Charny
Last summer, Irina Charny became an exhibitor at the prestigious
Festival of Arts in Laguna Beach, California. SAMA Executive Director
Dawnmarie Zimmerman visited with Charny to discuss her art and the
growing significance of mosaics in the show, including her contribution.
of the pageant’s regulars were thrilled to see something new and different. It has also been a huge time commitment. The festival runs for two
months, and the visitors really like to talk to the artists. So I had to stay
in my booth four or five evenings or days a week.
DZ: This has been a very big year for you. In addition to being juried
to participate at Laguna, you produced a solo show at a fine art gallery in Solana Beach, California. What has it been like?
IC: Having the solo show at Trios Gallery and getting ready for the Laguna Festival of Arts was exciting and stressful at the same time—like
cramming for finals in college! Because I was working on such a tight
schedule, I had no time to think too much or agonize over what piece to
make next. I just jumped in and got it done.
Editor’s Note: This interview has been edited for Groutline. To read the complete version, go to
www.americanmosaics.org/
Dawnmarie Zimmerman serves as SAMA’s Executive Director from her purple home office in
Ligonier, Pennsylvania. She is also known as a mosaic artist, family woman, teacher, author, cat
wrangler and keeper of all dropped balls. www.ladybughill.com
DZ: How did your artistic journey bring you to mosaics?
IC: Over the years I’ve done ceramics, life-size fiber sculptures, flameworked glass beads and polymer clay cane work. I was never completely
satisfied with them as creative outlets and moved on to something else—
until I discovered mosaics, that is! After 10 years, I have no urge to move
on to another medium.
DZ: What inspires these unique images and characters you create?
IC: Everything inspires me—fairy tales or myths I read to my daughter,
dresses I’ve seen on the street, faces or postures, music I’ve heard, dreams,
nightmares, nature, places, other artists—in no particular order. Sometimes
materials inspire the whole mosaic. Adam and Eve came to life when I
found a serpent-like piece of driftwood during a walk on the beach.
DZ: According to American Style magazine, the Festival of Arts is
one of the Top 10 Art Festivals in America. How detailed was the process of preparing your application for the jury? Was this your first
time entering?
IC: I have entered the show before and once even made it as far as the
physical jurying. Rejection is painful and unpleasant, but knowing that
the jury will be different next year and will look for different things
makes it possible to apply again. The two-stage jurying process involves
a slide submission, followed by physical jurying of 100 of those chosen.
During the two-month run, the jury examines the work three times to
decide who gets invited back and who is juried out.
DZ: What was the most enjoyable part of participating in this festival? What surprised you?
IC: It was fun to see people’s positive responses. People love the color,
texture and feel of the medium and are fascinated by the process. Many
The Dance (Earth, Water, Fire, Air), 2006
Society of American Mosaic Artists 5
Art in Public Places, Part 2 :
The scales of the Galapagos Iguana were
and applied while wet. The texture on th
created by applying wet, slip-like cemen
The spikes are made from hammered st
patined.
The Challenges
of Production
and Installation
By Solomon Bassoff and Domenica Mottarella
Once selected as a finalist in a public art project, you
will be asked to submit a design proposal along with
other finalists. Remember that you are competing for a
job with other talented professionals. Your design model
must be well-crafted and communicate your idea clearly.
If the committee sees that your design works well for
their application, is professionally executed and is
completed by the deadline, then you are likely to be
chosen for the project.
The Great Dane, an oversized portrait of Degas,
an artist friend’s dog, is four feet tall, weighs 300
pounds and is mosaiced in black granite and white
marble. During unloading, Degas was there supervising. He got very excited and ran right up to the
big dog, but quickly lost interest when he realized
that it was not a playmate but a sculpture.
Coordinating delivery of
can bring unusual challe
requires planning ahead
For example, the Iguana
and 4 feet tall. “It was ch
it was commissioned to
a particular area inside a
Bassoff. “It had to have t
height but still fit throug
Obviously we did not dr
into their living room, so
light enough to be dolli
It weighs about 350 pou
six people to move it saf
About Contracts
A
fter your design is approved, you will enter
into the business aspect of public art. You
will receive a contract from the public entity
with which you will be engaged in business.
The contract will state the completion/delivery date,
payment schedule, installation date and what is expected of the artist. You may be asked to provide proof
of a business license (for the city in which you will be
installing the work), insurance and—if you have employees—proof of workman’s compensation coverage.
These are requirements.
Shop around for the best insurance prices, as they
can vary. It is sometimes possible to coordinate with
onsite building contractors to install your work for you
when they are pouring concrete for sidewalks. This arrangement will save you a considerable amount of time
and money. Speak with the head of the project about
this aspect early on.
6 Society of American Mosaic Artists
Choosing an Engineer
You must supply engineered drawings and have them signed off by a
city official before starting on the project. It is important to establish an
ongoing relationship with an engineer that you will use for all your public
art projects.
Choose carefully; this is not an ordinary engineering job! Not all engineers are able to figure out the non-traditional methods necessary for
public art. Interview several, show them your designs and ask a lot of
questions. It is different, exciting work for them, so don’t hesitate to be
selective and choose an engineer with whom you have a good rapport.
If there are other artists in your area engaged in public art works, ask
for referrals. The engineer we ultimately selected had previously special-
ana were hand formed
ure on the legs was
e cement dot by dot.
mered steel that was
livery of your artwork
al challenges and
g ahead.
e Iguana is 10 feet long
t was challenging as
oned to be placed in
inside a home,” says
o have the length and
t through the doors.
d not drive a forklift
room, so it had to be
be dollied in by hand.
350 pounds and took
ove it safely. “
ized in concrete parking structures and buildings. He
was knowledgeable and delighted to help us with our
unusual requests. Once you choose an engineer, it is
important that you provide him or her with the safety
standards for public art and enlist his or her support in
adhering to them in your final design with the city.
It’s About Time
Special Delivery
Before beginning the project, it is necessary to figure
out a realistic work schedule that you will stick to. You
will have a completion deadline that you must fulfill, especially if you wish to apply for future public art projects.
It is unimaginably difficult for everyone involved if you
fall behind. That said, it is not uncommon for projects
to get held up on the other end by monetary difficulties,
weather and other reasons. None of that matters; you
signed a contract stating you would have artwork deliv-
Another early consideration is coordinating the delivery of the artwork. You may need to hire a tractor-trailer
company, flatbed truck or forklift. There are many ways
to accomplish a delivery such as this. When we delivered one of our installations, we were able to hire a moving company to drive their truck to our studio.
An especially memorable delivery was that of the
1,200-pound Komodo dragon sculpture. We rented a
truck and then threw a Komodo dragon party, inviting
17 friends to assist in putting it on the truck and then
stay for a nice dinner. This was a wonderful answer to
our problem of how to get the dragon on the truck, and
everyone had a great time!
We are currently involved in a project that will involve
eight six-foot-high vegetables for the city of Salinas. Delivering these will require several large tractor-trailer
trucks. At present we haven’t started these sculptures,
but we have done research on how we will deliver them.
It is best to know what you will ultimately need for your
finished project delivery before the day arrives, so begin
ered by a specific date.
When you plan your schedule, remember that things
come up. In other words, plan for the unexpected: bad
weather, illness, family issues, etc. Because you will be
paid on a schedule as you complete certain stages of the
project, many public art commissions will send someone
to your studio to ensure the work is being completed in a
timely manner and that you are following required safety
guidelines. It is possible to do this by email if your studio
is not close by.
Begin the Beguine
researching that early on.
Start by organizing your materials. Order more than
enough glass and other materials you will need prior to
beginning. It is imperative that you not be held up by
back orders from your manufacturer.
It is best to use some type of top coating for outside
projects that protect against weather. You will also need
some type of graffiti removal coating over that. Public
entities appreciate this type of attention to detail when
working with artists. Research these products and test
them prior to using them on your finished work. Helpful
tip: Most companies are more than happy to send free
samples for your approval.
As you are working on your masterpiece, there are
things you need to be preparing for. For example, if you
are creating a play structure, you will need to locate a
playground inspector to okay your completed work according to your contract with the city.
The Arrival
Whether you are installing the artwork yourself or
having the onsite contractor install it, you need to coordinate with the contractor and the project manager about
an appropriate date. Either way it is imperative that you
are present to ensure that your piece is not damaged and
that it is installed properly.
While it is always satisfying to complete a work of art,
it is especially so when you see large groups of people
enjoying what you have created. We cannot emphasize
this enough. Public art is a wonderful way to share your
creativity with others. Best of luck with all of your public
art endeavors!
Solomon Bassoff and Domenica Mottarella, partners in Faducci, explore
new techniques in mosaic and hand-sculpted cement. Faducci is in
North San Juan, California. www.faducci.com
Society of American Mosaic Artists 7
Ask A Pro: Hammer and Hardie
Get Chopping!
The hammer and hardie offer you the ability to work
with the greatest variety of textures and materials and
open up a whole new range of options for your
mosaics. SAMA Patron Lynn Moor shows you how.
Q. What tips can you give me on selecting a
hammer and hardie?
A. Mosaic hammers are available with carbidetipped blades or with steel blades. I recommend
carbide-tipped hammers for glass because of the
sharper cutting blade. Steel hammers, with their
more durable cutting edge, are for cutting stone
and tougher materials that can quickly wear down
a carbide blade. I personally use a carbide-tipped
hammer, reserving one side for cutting smalti and
using the other for cutting stone.
Hammers are available in two different weights:
950 or 450 grams. Of course, the lighter hammers
are easier to lift but are often too light to easily cut
larger tesserae. For this reason, I recommend going
with the heavier weight. Hardies come with either
a steel or a carbide-tipped blade. While there are different theories on the best to use, I was taught that
steel is preferred for both glass and stone. This allows
the glass to be cut by the sharper hammer and not
by the hardie that is there just to support the cut. Also,
using a steel hardie will extend the life of your tools,
since a carbide hammer hitting a carbide hardie can
cause damage to both.
Q. What are the basics of selecting a hardie
base? What are some dimensions?
A. Your hardie should be installed into a piece of
wood that is at least 8 inches in diameter and 8
inches thick. The softness of wood safely absorbs the
energy of the hammer blows, giving you better cuts
and making your tools last longer. For these reasons,
never mount your hardie in cement or other rigid material that lacks necessary flexibility. The traditional
base is a freestanding, sturdy cut log. Hardwoods
are often larger and heavier; however, they tend to
have less resin and resist splitting better than freshly
cut pine or other soft woods. Pine is lighter and often
easier to find. Either is fine.
Your local tree service, landscaper and firewood
supplier are great sources for cheap (or free) cut
8 Society of American Mosaic Artists
logs. As an alternative, adapt a processed 8 X 8-inch
pine or cedar beam, used in building construction.
If the base feels wobbly, screw a larger piece of flat
wood to the bottom to add greater stability. The top
surface of your wood base should be 8-12 inches in
diameter. The surface should be large enough to
catch the cut tesserae and provide a working surface when making cuts directly on the wood.
To find the ideal height for a freestanding hardie
base, first sit in the chair that you plan to use while
cutting. While holding your mosaic hammer, hold
your elbow next to your side and raise your forearm so that it’s horizontal to the floor. When your
wood base is the correct height, the bottom of the
hammer blade should just touch the top of your
wood base.
A tabletop base can be made from a piece of
wood 8-12 inches in diameter and 8-12 inches thick.
This great space-saving solution is easily moved
around your work area.
Q. What is the best method for installing a hardie?
A. Drill a hole in the center of the top of your wood
that is 1 inch in diameter and 3-4 inches deep. Insert
the hardie into the hole, pointed side down. Keep the
hardie perpendicular to the surface of the wood. Cover the hardie blade with a piece of wood—which
protects the blade—and pound on the wood with
a regular hammer until the hardie is firmly and solidly embedded in the base. With time and use, the
hardie will continue to embed itself more deeply into
the base.
Now you’re ready to get chopping. Have fun!
Lynn Moor is a professional
mosaic artist and owner of
MosaicSmalti.com. She specializes in vibrantly colored and richly
textured smalti fine art mosaics.
Her studio and home are in Cape
Cod, Massachusetts.
Step-By Step: B-Cut Smalti
Smalti – Going B
(or Bigger)
What are B-cuts and “pizzas”?
B-cuts are larger-than-normal, thick, flat squares of smalti
(approx. 2 X 2 X 3/8 inches thick). Each is cut to yield more than
20 pieces of the commonly sold A-cuts (each approx. 3/8 X 5/8 X
1/2 inch). “Pizza” refers to the full-sized plate of material that is
used to make B-cuts and then smaller A-cuts.
When and how do I use it?
Larger pieces offer contrast
and interest. Sometimes they
can be the focal point, or
if your main design is very
intricate, try using big cuts in
the background. Unlike Acuts (which are usually
only used cut-side up),
B-cuts and pizzas can
be used with the flat
sides showing and/or
with the cut side
up. When using the
flat sides up, add
textural interest to
some (not all) of the
tesserae by shearing
the smooth face of
the glass to create
dimples.
Instead of cutting smalti into tiny, tinier, tiniest pieces, why not try going
B or bigger? Sue Giannotti explains that B-sized cuts are larger sizes of
smalti that can augment your mosaics and take your work into a whole
different dimension (pun intended). As often seen in contemporary
European mosaics, the flexibility of having larger tessera sizes is just one
more of smalti’s benefits (the others being hundreds of color choices,
consistent color throughout, durability and usability indoors or out).
Cutting a pizza on a hammer and hardie
Cutting Pizzas
Hardie-Only Method
First, score along desired cut line,
using a straight edge and a handheld glass scorer (like the ones used
with stained glass).
Hold pizza in both hands, scored
side up, positioning the score mark
directly above and in line with
the hardie blade. Hold pizza firmly
and “pop” the pizza firmly
and quickly down on the blade.
Note: Side-biter nippers are not
recommended with pizzas because
they are less accurate across the
larger spans.
One of my students, Pam Seeley, shows where she chose to use B-cuts to call
attention to her dog’s expressive eyes and ears. This is perfect for making these
areas stand out against the smaller cuts she’s using for the rest of the mosaic.
Two ways to cut B-cuts
Two steps to shear a B-cut on a hammer and hardie.
How do I shear a B-cut?
Hold the tessera on the hardie log, not the hardie itself (yes, you need a
hammer and hardie log for this) and rest it on end with the edge you want to
remove facing up and toward you.
Angle the hammer so that hammer point is facing downward (and make
sure your thumb is not below where the hammer will come down).
Practicing your best hand-eye coordination, strike the thin edge of the
smalti. You can vary the size of the divots, depending on the angle the smalti
is struck and how far into the side the piece is hit. Although practicing will
yield more predictable results, varying colors of smalti behave differently (plus,
I think it’s more interesting to see what you get!).
How do I cut a B-cut?
Just as with an A-cut, it’s all in the
wrist. Hold the tessera firmly and
squarely on the hardie, lock your
arm and elbow against your side,
bend only your wrist to lift the
hammer and, controlling
the “fall,” let gravity and the
hammer’s weight do the work
for you. If you’re new to the hammer and hardie, it’s best to take
a workshop with someone who
can check your technique.
B-Cut Using
Side-Biter Nippers
Position the nippers along the
edge of the piece. Hold the glass
firmly between your fingers and
squeeze hard.
Where do I buy it?
B-cuts in 100-plus colors of Italian smalti are available in the U.S. from
MosaicSmalti.com. To order a pizza, check out MosaicSmalti.com and
diMosaico.com (or Smalti.com if you’re craving a “tortilla” of Mexican smalti).
Sue Giannotti is scheduled to teach her in-depth workshop on this topic again in January ’08
at the Chicago Mosaic School. She lives with her family near St. Louis, Missouri, and serves on
SAMA’s Board of Trustees. www.mosaicopus.com
Society of American Mosaic Artists 9
The annual SAMA National Conference is now called the American Mosaic Summit
American Mosaic
Summit – Miami ‘08
7th Annual SAMA Conference
Miami, Florida April 2-5, 2008
Registration Opens
December 7, 2007
Conference Fees
Early Registration
$185 member
$250 non-member
Presentations
Friday & Saturday, April 4-5
A selection of topics includes a discussion of
Ecclesiastic Mosaics and an exploration of
technical issues by SAMA’s panel of “Ask A
Pro” experts. Helen Bodycomb will present “Making Art Within a Climate of Cultural Pluralism,” and the 2008 Keynote Speaker will be acclaimed author Martin Cheek.
Workshops
Late Registration
$235 member
$300 non-member
Walk-in Registration (if available)
$375 member
$445 non-member
Below are just some of the workshops to be
offered on Wednesday, April 2 & Thursday, April 3.
The complete program is available on the SAMA
website: www.americanmosaics.org.
Workshop fees are additional
Accommodations
Hilton Miami Airport Hotel
5101 Blue Lagoon Drive
Miami, FL 33126
Tel: 305-262-1000 www.miamiairport.hilton.com Reservation Cutoff Date
Sunday, March 2, 2008
Room Rates
$155 single
$175 double occupancy per room
Members must mention SAMA
to get group rate.
Professional Development
Digital Photography
“Color and Value - Working Realistically in Mosaic”
with Shug Jones
“Mosaic Design Surgery” with Martin Cheek
Business Development
“Business of Mosaics” with Sonia King
“Public Art: Cracking the Code” with Kim Emerson
“Showtime: The Art of Selling Your Work
at Art & Craft Shows”
Collaborations with Architects
Technical Development
Sculpting in Styrofoam with Sherri Warner Hunter
Hammer & Hardie with Matteo Randi
Mosaic Adhesives
Abstract Mosaic with Stone
Anatomy of a Mural with George Fishman
Stained Glass Mosaics
Spontaneous Mosaics with Ilana Shafir
Smalti & Millefiore with Martin Cheek
Highlights
Vendor Marketplace
Thursday-Saturday, April 3-5
Artists’ Reception and Mosaic Arts
International 2008 Opening
Bakehouse Art Complex
7 pm, Thursday, April 3
Sponsor Appreciation Cocktail Party
5 pm, Friday, April 4
General Members’ Meeting
8 am, Saturday, April 5
Brown Bag Exchange
Saturday, April 5
Closing Night Party
7:30 pm, Saturday, April 5
Join the membership for a party at the Trend
USA showroom in the heart of the design district. Includes dinner and dancing.
If you would like to be part of the planning
committee, the Miami team can use your help.
Email [email protected].
For the most up-to-date information on the
American Mosaic Summit – Miami ’08, visit
www.americanmosaics.org and click on
“Conference.”
Note: The popular Mosaic Marathon will
return to the conference in 2009.
Call To Artists
CONTRIBUTORS
Deadline: November 16, 2007
MAPEI Corporation
po2 Associates, Inc.
Silver Circle Sustaining Contributors
Laticrete International, Inc.
Mosaic Rocks!
MosaicSmalti.com
SAMA Board of Trustees
The Chicago Mosaic School
WitsEnd Mosaic
Mosaic Arts International 2008
Waiting For Wind (Lynn Moor, 2006)
It’s that time of year again! Present your best original work for consideration
in our juried member’s exhibition, Mosaic Arts International 2008. Held in
conjunction with SAMA’s annual conference, the exhibition is the prime
opportunity for members to present their work to a new audience. This year,
Mosaic Arts International 2008 will be held April 3-30 at the Bakehouse Art
Complex, part of the Wynwood Art District in Miami, Florida. The Bakehouse
Art Complex is a featured venue for the district’s “gallery walk” night and a
destination for art collectors and decorators from around the world.
In support of SAMA’s new mission statement, Mosaic Arts International
2008 will present a selection from SAMA members whose work the jurors
believe displays excellence in fine mosaic art. A total of $5,000 in awards
will be presented, including Best in Show. Categories include 2D, 3D and
Architectural Mosaics.
Please read the submission guidelines carefully and follow the instructions
for preparing your digital images to ensure your application is complete. For
more information, to download a prospectus and to apply online, go to
www.americanmosaics.org. Click on “Mosaic Arts International,” and
you’ll find a link to the digital application with Juried Arts Services,
www.juriedartservices.com.
10 Society of American Mosaic Artists
President’s Circle Sustaining Contributors
Bronze Circle Sustaining Contributors
Airfloat Systems
Artful Crafter
D&D Tile
di Mosaico
Gemini Saw Company
Institute of Mosaic Art
McIntyre Tile Company, Inc.
Monster Mosaics
MosaicArtistsOrg
Mosaic Mercantile
Mosaic-Tile.com
Ranco
TeaMac, Inc.
Venture Tape Corp.
Warner Crafts
Weldbond Universal Adhesive
Conference Registration Opens December 7, 2007
Join The Society of American Mosaic Artists Mail or fax to:
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and begin receiving Groutline. Please print and complete this membership form and send it, along
P.O. Box 624
with a check or credit card information, to the address below. Please allow 3-4 weeks for member- Ligonier, PA 15658
ship processing. You can also join online at http://www.americanmosaics.org/shop.cfm.
Fax 1-724-238-3973
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Individual
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Note: Annual memberships run January through December.
Sorry, no pro-rated memberships.
All Levels
• Groutline, SAMA’s quarterly newsletter
• Andamento, the monthly e-newseltter
• Member rates and privileges for the annual
Mosaic Summit and Vendor Marketplace
• Private access to Members Only section
of SAMA website
• Inclusion in the website’s Members Gallery
• Exhibition opportunities
• Submit questions to “Ask A Pro”
• Eligibility to apply for the annual Robin
Brett Scholarship
• Networking opportunities
• Optional listing in Annual
Members’ Directory and one copy
Student
• Available to students with valid
ID for up to three years
Professional
• Link on SAMA website
• Ability to list classes on website
• Use of SAMA logo
• Special listing in Directory
Corporate
• Use of SAMA logo
• Website link from SAMA’s Suppliers page
• Ability to purchase advertising
• Advanced conference sponsorship
opportunities
• Special listing in Directory
Patron
• Special acknowledgements and listings
• Most advanced conference sponsorship
opportunities
SAMA Volunteers
The Glue That Holds It All Together
Photo by John Luke
Congratulations,
Orsoni Winners!
When the first bi-annual Orsoni Prize,
International Award for Mosaic Fine Art
Kimberly Schonfeld used colored golds
and smalti to create Reminiscence.
was announced in September in Venice,
Italy, SAMA was pleased to see two of its
members awarded. Grand prizewinner
Kimberly Schonfeld is the recipient of 1,000 Euros, a round-trip ticket to
Venice to attend a one-week Master in Mosaic course, accommodation at
Domus Orsoni, a three-month exhibit of the winning piece, Reminiscence,
and an artist reception at the Orsoni gallery. Lynne Chinn also received
special recognition as a finalist for her piece, Winged Geode. Schonfeld and
Chinn competed with 61 artists from 15 countries who submitted 95 works of
mosaic art. All entries to the Orsoni Prize are available to view at www.orsoni.
com. The next prize will be offered in 2009.
Just as every mosaic needs an adhesive to hold it together, SAMA
needs volunteers to reach its goals. From conference ticket takers
to board members, volunteers are what keep us moving forward.
SAMA’s biggest volunteer need comes with the yearly conference,
but volunteers are needed throughout the year.
To be a productive organization working in the best interest of
its members, SAMA’s Board of Trustees has created committees to
identify and define objectives in the following areas:
Membership
Public Relations and Marketing
Exhibitions
Education
Finance
Mosaic Summit (conference) Website
Fundraising
Scholarship Program
Sponsorship
This year’s key areas of focus are Education and Public Relations
and Marketing. The goal of all committees is to support and increase
the visibility of mosaic art, creating more opportunity for the SAMA
membership.
Be the glue! Check the “Get Involved” section of the “Members
Only” portion of the SAMA website (americanmosiacs.org) for
more information on volunteer activities.
Volunteer Coordinator Yvonne Allen can assist you in finding the
right volunteer job.
Society of American Mosaic Artists 11
“I was so honored to meet a living legend.”
presentation of the 16 X 20-inch piece of art after attending the concert of
the 81-year-old guitarist, singer and songwriter at the Surf Ballroom in
Clear Lake, Iowa. In fact, that’s what gained them entry to an exclusive
“meet and greet” session on King’s bus after the concert. “His guard was
surprised,” said Esposito. “He said, ‘Everyone always wants something
from him. Nobody ever wants to GIVE him something!’”
King told Esposito that a museum was under construction in his hometown of Indianola, Mississippi: The B. B. King Museum and Delta Interpretive Center, planned to open in September 2008. He insisted that she write
her name and contact information on the back of the artwork so the curators could reach her for permission to place the mosaic in the museum. “I
was so honored to meet a living legend,” she said, “and he is a very kind
This Magic Moment
A maker of celebrity likenesses meets the King of the Blues
C
arrie Esposito of Allison, Iowa, got the thrill of her life on July 1:
She had the honor of presenting her mosaic of B. B. King to the
blues master himself. She and her husband Andrew—both mo-
saic artists and blues music enthusiasts—asked permission to make the
and pleasant gentleman.”
In addition to creating King’s likeness, Esposito has depicted Eminem,
Eric Clapton, Abraham Lincoln and Scarface in mosaic form. You can
see her work at www.flickr.com/photos/extremeartistry. Learn more
about the museum at www.bbkingmuseum.org.
Tell us what you’d like to read or write!
Send your story ideas to
[email protected]
www.americanmosaics.org
P.O. Box 624
Ligonier, PA 15658-0624
Dallas, TX
Permit 6803
US Postage Paid
Non–profit Org.