48. Currents

•2013/06/16 • Leave a Comment

This piece began as a project to place a mosaic cover over some exposed pipes in the garden.

An unused cobalt-blue flower vase, turned upside down would cover it nicely.

My idea was to have each of the five sides portray currents which carry from one side to another, flowing like rivulets or streams of air.

Currents (East) - glass on glass mosaic

Currents (East) – glass on glass mosaic

Currents (Top) - glass on glass mosaic

Currents (Top) – glass on glass mosaic

Currents (West) - glass on glass mosaic

Currents (West) – glass on glass mosaic

Currents (North) - glass on glass mosaic

Currents (North) – glass on glass mosaic

Currents (south) - glass on glass mosaic

Currents (South) – glass on glass mosaic

47. Salamander

•2013/03/23 • Leave a Comment
Salamander, glass on glass mosaic, 2013

Salamander, glass on glass mosaic, 2013

This piece is a continuation of my experimentation with glass cutting techniques for mosaics. With smalti and marble mosaics, there was very little variation in the sizes of the tesserae–but here, working with a much wider range of glass pieces, I could experiment with different textures resulting from using larger and smaller pieces.

In the blue areas, I experimented with the limits to curvature using a cutting technique that gives me a range of concave pieces.  I wanted to see if I could suggest a wave, the flow and curvature of a breaking wave.  But I was able to bend the wave further and further, it eventually collapses onto itself to an almond-shape.  The eye of the wave, or further up the mosaic, the eye of the salamander.

46. Dragonflies and Macaw

•2013/01/13 • Leave a Comment
Dragonflies and Macaw, glass-on-glass mosaic, 2012

Dragonflies and Macaw, glass-on-glass mosaic, 2012

The fourth and final side of the flower vase mosaic.

Here, I’m experimenting with incorporating glass beads into the work. The blue dart-shapes represent the bodies of dragonflies. The green “T” represent the wings and tail of a green macaw.

 

45. The Reeds

•2012/12/20 • Leave a Comment
Reeds, recycled glass mosaic on glass. 2012

Reeds, recycled glass mosaic on glass. 2012

This is the side three of the four-sided glass mosaic flower vase.

This side incorporates a much simpler palette than the others, more subdued. The gold and red mosaic pieces are cut from tumbled glass. The violet glass pieces are much smaller and sharper, many of them retain the “ribbing” from the original glass bottles.

The patterns here remind me of lake reeds, how they gather into swirling parallel lines as they float not-quite-to the surface of the water.  Here I’ve cut the glass to suggest water and waves. At the center of the vortex of reeds is where we find the treasures of the lake.  Water spiders. Bits of floating blossoms. A sparkle of sunlight.

44. Sunset Palm

•2012/12/15 • Leave a Comment
Glass-on-glass mosaic

Sunset Palm, cut recycled glass mosaic vase, 2012

This is the second side of a four-sided glass vase. Although this project had begun as a “practice piece” for an upcoming major outdoor installation,  I love the way the vase is evolving into something more than just playing around.

The tesserae are cuts of broken, recycled and tumbled glass, affixed with Weldbond. The tumbled pieces were intriguing to work with. Thin cuts of the longer pieces turned into interesting shapes–scimitars, ovals, concave and convex wedges. Stacked, they rendered into a shape suggesting the grooves of a palm tree trunk.  Arrayed as a star, they suggest palm leaves.

 

43. Poppy

•2012/12/11 • Leave a Comment
Flower Vase, glass-on-glass mosaic

Poppy, cut recycled glass mosaic on glass vase, 2012.

I’m finding that mosaics are always a little trickier to capture by photo. They’re rarely rectangular, and usually three-dimensional. But let me try…

This is side one of four of a glass-on-glass mosaic.  Here, I’ve cut broken and recycled & tumbled glass (using hand-nippers), and affixing using Weldbond.

I’m experimenting with some new mosaic ideas on this piece.

I’m deliberately cutting the glass into more organic shapes, and trying to steer away from right-angle cuts.  The tumbled glass often cuts with convex/concave lines.  These shapes make for interesting flows–either stacked, or to extend flow-lines end-to-end.

This piece won’t be grouted.  I’m thinking that the opaque grout will dim the light that comes through the vase.

There are suggestions of flower petals and stems, a theme I have carried to the other sides of this vase.

42. Sierra Nevada

•2012/11/23 • Leave a Comment

Sierra Nevada, watercolors on paper. 2012

On my recent travels to Andalucia, I spent several days in the beautiful mountain town of Rhonda.  The mountain ranges of several national parks girded the horizon.  This is a quick watercolor sketch of mountain peaks, using some new techniques to try to achieve the depth of oils using watercolors.  The paints I’ve applied are nearly the density of ink.  The paper is a very thick, hand-made paper–when the paper is extensively worked, threads of the section lift off the plane of the page.  The combination of these two effects render a more three-dimensional effect (whereas watercolors normally are a very flat medium in general.)

 
%d bloggers like this: