Often, when
people think of mosaics, they envision the great
wall and floor mosaics of
ancient cathedrals and mosques in Europe and the
middle east. Or, they may recall pillars and
walls at airports and public places, or swimming pools and fountains. What many people
do not realize, however, is that today fine art
mosaics are being created in greater numbers and
variety than ever before. Mosaic art is experiencing an unprecedented revival! Not only that, but today there is no limit to materials and subjects. I'd like to discuss some of these new possibilities.
Consider materials. There is virtually nothing that can't be attached to the mosaic substrate as long as it doesn't decay, sprout, or grow leaves. (Someone will, no doubt, decide to try some of these restricted items just to see what happens!) If it can be glued down and integrated into the design of the work, it's acceptable. I know artists who incorporate string, cardboard, fishing line, wire, and eggshells, not to mention parts of watches or other small mechanical items. I, myself, am increasingly experimenting with new textures, frequently using beads, ball chain, sand, ground glass, and hand made polymer clay pieces. The variety of textures, reflectiveness, and size can produce some very exciting results. To examine how I use some of these materials, look closely at Woman in Blue and Girl in a Blue Head-Wrap. Both use beads, sand, and ground glass liberally.
Substrates, also, come in a wider variety than ever before. For two dimensional mosaics alone, there are numerous choices other than the traditional wood or composite board. A commercial product called Wedi board, is an excellent, light weight substrate, very useful for large scale mosaics. I have found an even lighter substrate which I make from insulation board. I reinforce the board with wide carpet tape and a coat of tile mastic to give it additional strength. The board is relatively inexpensive and can be cut to any size or shape with a utility knife. Some wonderful, luminous results can be made using mirror as a substrate. The mirror allows translucent glass to glow with an inner light. Mirror substrates do, however, need to be mounted on wood to avoid breakage, and the size of a mirror substrate is limited by the weight. Finally, another commonly used light-transferring substrate, is plexiglass, though it is not conducive to large scale mosaics. These are all substrates I have tried and found useful. No doubt there are others I haven't had a chance to try yet.
Mosaic Arts International (juried international mosaic exhibit) 