Way Back...

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Over ten years ago, I found this book by Sarah Kelly.  This was in my early years, when I was still doing a lot of decorative work, and before I had even thought about working with stone.

I really loved the project shown on the pages (below left), created by Juliet Docherty. I don't know why I never tried it. I think I was trying to figure out smalti, or something, and veered away from vitreous glass projects.

Even further back, in about 1996, I found Mosaic Mercantile as a vitreous glass supplier. I called and ordered a catalog and some small mixed sets. No internet ordering — it was all by phone. It was so exciting to receive the shipment of tiles; I thought that they were so beautiful, especially the metallic ones. That Gypsy mix is still my fave! This was before I even thought about trying smalti, much less knew where to buy it.

Over the years, I've continued to buy vitreous glass for various mixed material projects, and I have a lot — a lot — that deserves to be used. Now, after so many years, I am revisiting Juliet Docherty's Decorative Panel project. I think that my Beginner's Mind exercises have given me the freedom to go back in time, more or less, so I've started a new mosaic that is inspired by the above project.

That metallic vitreous is beautiful and I'm using a lot of it. After finishing a lower section, it was so strange to have mosaicked a large, flat area. And the little squares are so... square. I've got to work harder to let them be more loose. 

Beginner's Mind #4

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Beginner's Mind #4. 10" x 8" | 25 cm x 20 cm. Smalti, porcelain, mosaic gold, vitreous, other glass

Beginner's Mind #4, detail

Beginner's Mind #4, detail

My favorite of all four exercises, I believe that this is the most successful attempt to get close to a beginner's perspective. My cutting is loose and I worked rather freely. I started this going a different direction than where I ended up. 

Of course, I can't work like a beginner; that ship has sailed. But I was able to allow myself to let things go, to not focus on precise technique, to experiment — especially with this one, and to let go of the outcome. 

I tried to make a space to learn and to enjoy. I've never quite done anything like this one before, having the blues and yellows meet in this extreme zig-zag manner — and I think it works very well. I'm so pleased with myself to have tried something different, very different. 

Now, could a beginner really do something like this? I think so. Certainly, on a bit smaller scale. I was actually surprised by how fast it went and how forgiving it was.

The blues are very nice mixed this way. I failed to capture it, but the blue glitter tile that I used has some pink/red sparks that show in certain light; the iridescent blue, as well, sometimes reflects pinks/purples, which I did capture some of on the full image.

What an interesting couple of weeks or so. Starting out too complex and controlled, I made my way to a place which reflects the spirit of working like a beginner — or, at least, like a student. This was also an enjoyable exercise which has helped me appreciate my skill level, and the fact that there is plenty more to learn, and unlearn.

I'm feeling prepared and excited for my class, and I'm happy to have four different examples for inspiration and instruction. I've also completely nailed down the materials, of which there is a good variety. 

Beginner's Mind #3

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Beginner's Mind #3

Beginner's Mind #3, detail. 10" x 8" | 25 cm x 20 cm. Smalti, mosaic gold, vitreous, other glass

I don't have much to say about this one, except that it was a fun, breezy few hours. I'm not usually into very high-contrast, like this blue with this yellow smalti, but this yellow is a little brighter than the one the class will be using. Still, I like the texture and I can imagine what a larger piece in this design would be like.

Beginner's Mind #2

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Beginner's Mind #2. 10" x 8" | 25 cm x 20 cm. Smalti, vitreous, mosaic gold, other glass

 

For my 2nd attempt at getting into a beginner state of mind, l decided to simplify, stick with blues, and add a bit of gold in a rather wicky-wacky style. My cutting was much more loose and I actually tried to make the lines a bit crooked, although it barely shows.

I think a beginner could definitely tackle something like this. Even with the whole smalti and half pieces of vitreous, there is plenty of demanding cutting for a novice to deal with. I actually think that, should a beginner take on this linear-textile-y kind of thing, it would turn out better than this one of mine, as it would probably be more loose, less straight, have more movement, and be much more charming.

I'm sticking with this 10" x 8" size for my exercises to try to even out some of my experience advantage. This one went pretty fast and was quite enjoyable just working with those beautiful blues.

Speaking of the blues, I used two different smalti blues in this one than I did in the first one. Although they are close, I prefer the blues in the first one. 

I've finished my 3rd one and will post it next. It's a geometric, repeating pattern design, and went very quickly. Again, fun to make. The 4th will not be linear or geometric, but rather something with some curves. 

Beginner's Mind

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Beginner's Mind #1. 10" x 8" | 25cm x 20cm. Smalti, vitreous, mosaic gold, marble, porcelain, other glass. 

This series is my attempt to work from a beginner state of mind. Initiated by a class that I am teaching, I wanted to have some examples for the students and wanted the examples to truly reflect something that they could achieve within the class hours. 

Focusing on texture, the students will create an 8" x 8" or 7" x 9" piece using a palette of blues and golds/yellows. The variety of materials will present a good challenge for a mostly beginner class. Note: I feel I must give a nod to Sonia King, as part of my inspiration for this class came from a piece I made, Remembering Istanbul, in her 2010 Istanbul workshop. While the design and textured execution were my own, she set the color palette and, of course, gave her expert guidance.

My first attempt, shown above, turned out to be too complex for a beginner to create in the time period that we will have. I realized this about halfway through, but wanted to finish it anyway. It will still be instructional in illustrating ways to treat the various materials, and could be simplified.

My second attempt, which I will post in the next few days, was more successful in that I am sure that a beginner could accomplish something similar, and I was able to work much, much more loosely than I did on the first. I must say, it was quite enjoyable. 

I am finding that it's a wonderful, although challenging, process to try to work in a beginner state. I am able to reflect on some things about myself, as an artist and mosaicist, through this foray into a beginner's mind, and I find that very exciting. I'll share some of those reflections when this little exercise is over.

I plan to make at least four examples, and maybe six. The only downside is that I am going to have to order more materials as I am using them all up. But what fun!

Impromptu in Red: Bad-Action Blade Wheel

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Impromptu in Red: Bad-Action Blade Wheel. 16" x 10" | 41 cm x 25 cm. Smalti, porcelain, vitreous, framing spring clips, hardware, jasper.

Framed and photographed! So, about the bad-action blade wheel...

I read about a Tibetan Buddhist practice, My Bad-Action Blade Wheel, in Circling the Sacred Mountain, by Robert Thurman. It's been over a decade since I read the book, but I'll explain my interpretation of the concept and how I practice it. 

A bad-action blade wheel is basically a kind of karmic balancing wheel. For example, let's say that I find out that a friend has spread negative gossip about me. I'm feeling hurt and angry. Instead of just lashing out, blaming, or feeling victimized, I say to myself:

That's just my bad-action blade wheel come full circle. I have treated others in a similar way in my past(s) and this is just a balancing-out of my bad karma. I am grateful to have balanced out some bad karma, and I pledge to never again cause anyone else the kind of pain and anger that I now feel.

Well, I find it to be a very good practice, with the keyword being practice. Of course, I'll still have to deal with my friend (or perhaps x-friend), but hopefully after I process the situation.

 

New Work — Impromptu in Red

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Impromptu in Red: Bad-Action Blade Wheel. 16" x 10" | 41cm x 25cm. Smalti, porcelain, vitreous, spring clips, hardware, jasper

Impromptu in Red: Bad-Action Blade Wheel. 16" x 10" | 41cm x 25cm. Smalti, porcelain, vitreous, spring clips, hardware, jasper

Impromptu in Red: Bad-Action Blade Wheel

Adding to my Impromptu Series, I spent the last weeks working on a small piece in reds. I must confess that it was quite a challenge. As drawn as I am to explore this kind of shading, or gradation, it always proves to be a tormentingly masochistic adventure.

Yet, I cavalierly went down this treacherous path again! And this time, I could not just stick with a red to light red/pink, or even red-orange-yellow progression, but had to include peaches, roses, mustards, and even purplish tones. Whether or not it should be difficult, it just is difficult for me. 

Still, at this point, every time I look at it, I see a piece here that is too dark, a piece there that is too light. The last mosaic that I did in this series was in 2009; like having babies, I forgot the misery of the process.

But it's finished, maybe, and I am ready to move on. For my work this year, I am focusing on some letting go, especially where my precision is concerned. Its an experiment. I want to see what other freedom I might experience if I set myself free... just a bit... regarding my hyper-controlled cutting. So, no grinder for this latest work, and that Mexican smalti is really a bitch to cut. 

As far as the subtitle, Bad-Action Blade Wheel is a Tibetan Buddhist practice on which I will elaborate in my next post. For now, I'll just post this preliminary photo with its mocked-up frame. In the next few days to a week I will get better pics of the framed work and give more commentary.

Mosaic Class at WaterWorks Art Center

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It's official! I'll be teaching a 6-week class on Monday evenings, Apr 6 - May 11, at WaterWorks Art Center in Tulsa. 

Light & Shadow: Textural Mosaic Art will teach basic mosaic construction while creating a 2-d mosaic art piece with a textural surface quality.

Students will learn to work with a variety of traditional and contemporary materials to explore aspects of light and shadow in a textured mosaic surface. I'm very excited about this class, and to be teaching at WaterWorks again. Find more information here. 

Almost As Much Fun

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Giving away SAMA conference registrations and workshops was almost as much fun as actually going to the conference. And like attending the conference, I got to meet some new people and get to know a bit about them through their scholarship applications. 

Three artists received registration and workshop packages, and two of them received some expense funds, thanks to Krystie Rose Millich and everyone who donated to her fund. You can find all the details here.

As a result of this experience, I have created MESI, the Mosaic Education Scholarship Initiative. I had so much fun that I want to do it again next year. Please consider helping to make it happen by donating.

SAMA Conference Registration Scholarships+

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I'm very pleased to announce that I will be awarding two 2015 American Mosaic Summit Full Registration Scholarships this week!! That's right, you've got this week to let me know why its important for you to get to Philadelphia in March to attend this conference. 

For more information, view the application here. 

Note: Additional funding for the scholarship recipients, to assist with transportation, lodging, and other expenses, is currently underway, thanks to the generous efforts of Krystie Rose Millich, aka TileMosaicGirl. Visit Fund SAMA Conf. Schol. Addl Costs.

Red Play

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In preparation to resume work on Fragile Heart, I played with all the shades that I may be calling upon. Some people have a very good eye for value, but I'm not sure that I am one of them. The color is distracting to me, but this is a skill that improves with practice.

Below is the result of my morning exercise. The top two images show where I started, and the bottom two show where I ended up after several modifications. Its pretty tricky with reflection, as well as with the mottled shades of the Mexican smalti, but I do see improvement, all thanks to the black-and-white feature in my photo editor. 

I could go on endlessly making adjustments, but I think I'll stop now and hope for the best.

About Gold

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My fascination with mosaic gold began shortly after my trip to Venice for an Orsoni Master Class in 2006. While there, I purchased kilos of colored golds, and a nice selection of whites to yellows. In 2007, I began working with them and I have not stopped.

I love the way that the many shades of Orsoni white through yellow golds are so responsive to light. As I walk around a mosaic with several shades, they seem to change in depth — and of course reflectivity — as though they are alive. The deeper yellow shades actually change to rich burnt umbers when viewing from a side angle, as you can see below in one of my early explorations.

© 2014 Jacqueline Iskander. Gold Rising (2007). 13" x 15" | 33cm x 38cm. Smalti, 12 shades of mosaic gold.

© 2014 Jacqueline Iskander. Gold Rising (2007). 13" x 15" | 33cm x 38cm. Smalti, 12 shades of mosaic gold.

I remember Maestro Lucio Orsoni being amused by the common reference of gold smalti: "It isn't smalti; it is nothing like smalti," he said. Of course, it is nothing like smalti. Although the term seems to be more commonly used all the time, I remain a holdout and call it mosaic gold. 

For an informative article about golds, check out Going for Gold — 10 things you should know about gold smalts from Mused, a very nice mosaic blog that I follow.

 

Windows to the Wild — Public Installation by Elizabeth Raybee

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I had the complete pleasure of hosting mosaic celeb Elizabeth Raybee in my home this last Sunday evening. She was heading back home to California after over a month on the road for her cross-country friends and family tour.

What a delightful human being she is! We talked and talked and talked, and I was amazed at how plugged-in she is to public mosaic stuff in all corners of the world. She also has a farm with sheep and chickens and pears and walnuts and who knows what else! She kindly brought us some homemade pear butter and we sampled her very own Walnut Liqueur... tasted like dessert!

I would like to spread the word about a cool public project on which Elizabeth is working and would like some help. Find out more about Windows to the Wild here. 

 

Fragile Heart

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I've got a bit of a head-start on my next project. A few years ago, I started a small piece that was more of an exercise. I needed something to putter around with while I was waiting for some materials to come in for a large commission.

Attempting to confront my aversion to working with red, I decided to work on some color gradation. At the time, I was pondering heartache, sadness - matters of the heart. This was around the time that I had to make the very difficult decision to put down a family dog. Several other life changes were also happening at the time.

Above is where I left the 9" x 11" exercise when my commission work resumed. I liked it and thought I might finish it someday, so I held onto it. As I was working on my last piece, If I Were A Tree, I entertained the idea that this old exercise would be my next project.

As my mind shifted to my exercise becoming a finished work, my concept for it began to evolve. I wanted it to be bigger and to fit my Impromptu series. I began to see how to accomplish this, but I would have to make some changes.

In order to enlarge the 1/4" Wedi substrate from 11" x 14", I cut a 13" x 16" piece of 1/2" Wedi. Next, I cut 2" strips of 1/4" Wedi. Then, I spread a layer of thinset on the 1/2" substrate, anchored the original 1/4" substrate in the lower left corner, and filled out the top and right sides with the 2" strips of 1/4" Wedi. After leaving it to cure, I added the washers and bolts and attached a wood frame to the back. 

I removed pieces in two areas, shown in the black circles above, in order to retrofit the washers. Now, its ready and waiting for me, as soon as I am ready.

As it turns out, I have a new dose of unwelcome inspiration for this piece. My younger brother died 8 days ago. He had congestive heart failure and left us, it seems peacefully, in his sleep. He was a loner, a bit of a recluse, and suffered some deep wounds in his adult life. I'll be contemplating the inevitability of hurt and loss as I work on this, and I'll dedicate this mosaic, currently titled Fragile Heart, to my brother.

 

New Blog, New Work

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Yes, its new blog time. I'm happy to have my blog incorporated with my website, but it means I must leave my old Tumblr. I've got some good information and posts on my old blog, which you can find here. 

So let's kick-off my new blog with my latest mosaic.

If I Were A Tree 32" x 48" | 81cm x 122cm. Mosaic gold, shale, marble, smalti, porcelain, ammonite fossil. (Click image for more detail.)

If I Were A Tree 32" x 48" | 81cm x 122cm. Mosaic gold, shale, marble, smalti, porcelain, ammonite fossil. (Click image for more detail.)

This fantastical tree is a bit of a departure for me. It has been wanting to be created for a few years, but I kept rationalizing it away. Then, last May, it just seemed to get started. I'm not sure what the title means; it just seemed to attach itself to the work... very sneaky. 

Maybe, if I were a tree, this is the kind of tree I would like to be. I would be strong and graceful. I would have leaves of fire or be a perennial fall tree, as fall is my favorite season. Clearly, it seems that I would be a very large tree, towering over the river and mountains.

The landscape was executed in a completely spontaneous manner. It rather created itself, and I thoroughly enjoyed discovering this land of river and mountains. The background was very technically challenging, seemed like it would never end, and got the better of me on a few occasions.