With summer travels and home renovation, things have been incredibly busy the past few months. But the renovation is mostly finished and my new studio is operational. If you would like to see my new space, check out this blog post.
After a few very small mosaic tasks, I'm almost ready to rejoin the mosaic world and focus on finishing a couple of works. My sabbatical turned quasi-sabbatical and then back to full sabbatical during the renovation has been very good for me. This blog series, as well, has been helpful, and I feel it will be even more helpful if I continue it.
So, we left off in about 2006 with the idea of essential mosaic, or work that is uniquely mosaic. My first introduction to the concept was by Gary Drostle, who described it as work that would not be as successful in any other medium. I'm pondering a tighter qualification, that being work that can only be successful in mosaic. What do you think?
As the riddle of essential mosaic nagged at me, I attempted to chase it and began creating abstract mosaics and working with a variety of materials. I came to realize that I love line. And simplicity of design. And minimal color palette. And precision.
Simplicity of design and minimal color palette gave me a sense of space. Precision gave me a sense of ease, which actually sounds nonsensical as precision is not at all easy. But precision made things make sense, made the pieces make sense to each other—to meet on equal terms, made silence instead of noise. I still feel the same way today, although I now understand how precision is vulnerable to perfectionism.
In this time period, I was paying more attention to texture and was experimenting with dimension. I also began thinking in terms of works in series. Music To My Eyes was the first series, based on classical music forms and particular compositions in the form, as well as the use of mosaic gold to express movement.
Below are the first two in the series, Etude and Nocturne, 2007 and 2009, respectively