GEORGE FISHMAN MOSAICS

Kelley Knickerbocker

My short story:    Been doing mosaic for five years. Decided at year two to make it my profession, and narrowed my focus to architectural, initially residential. Did several fireplaces, stairways, etc., then developed a technique/style of textured clear glass over glass, and did (and still do) many residential windows and glass doors. I was fortunate to study early on with Eric Rattan and Laurel True, each of whom bequeathed to me a deep commitment to technical integrity in architectural work. Teaching and continuing to develop my signature stacked glass technique for 2D panels (and thereby paying the bills) has in the last few years eclipsed my architectural track somewhat, but architectural work remains my first love and I am ever eager to sponge up and mull over other professionals' processes and approaches to see what of their wisdom can be vitamined into my own process. And I've got a 16sf exterior installation onto a concrete wall approaching (design and materials decided, now to fab and install) here in Seattle when freeze season is over so I'll be listening with that real-time job in my mind.

I'd like to move beyond residential architectural work to larger scale commercial and public settings. Some aspects of that make me nervous, like juggling input from a lot more parties (owners, architects, designers, other construction folks) during the project than just a homeowner with a dream and a budget.

Gerry Lavery

As you may remember, I am in the midst of producing a 12 m2 mural. I am still playing with techniques to place the mural on the wall and be able to remove it at a later date with a minimum of destruction. This is a purely structural/procedural/engineering type question. I also have a rendering question to do with scale. I have some large fairly homogenous areas (lawn grass) to cover and am loathe to grid across them. I'd like to see some examples, get some pointers on mosaicing large areas and maintain the art. Large scale andamento?

Carol Braham

So sorry for such a late response.  I have been out of town working on a project and am just now catching up.  I am not your typical mosaicist.  I do architectural art pieces mainly in stone.  I come from more of a construction background and am pretty good with the technical details of an installation.  My first concern is always for a project to be installed according to the highest standards for longevity and peace of mind.  I am ALWAYS interested in how people use and install different materials in larger projects so everything you have to share will be interesting to me.  To be honest, your entire outline will be of benefit, but of particular importance is the origin of the project, contract and pricing, your design process, and crating.  I am also  interested in installation issues related to having or not having a contractor's license.  I am from California and this seems to be more of an issue for me than people who work in other states. 

Holly Theuns

My name is Holly Theuns and I became interested in mosaics on a trip to Italy in 2009. I fell in love with Ravenna. I looked for an instructor and took an intro class in Miami and a series of classes from Michele Petno in Orlando. I opened a studio in Fort Pierce, Fl in April of 2010, Chihuahua Mozaics, where I specialize in mosaic jewelry and pet portraits. 

In addition to your class at SAMA I am taking the micro mosaic jewelry workshop put on my Antonella of Orsoni.

Last week I accepted the position of Director at Art Mundo, a non- profit making all kinds if art accessible to all kinds of people. We are located in a repurposed bank building in the historic downtown and in the parking lot there is an old freestanding drive through building just begging for a mosaic makeover.

That's my story.

thanks,

Holly

Delfina Valentini

I have been doing mosaic for more than twenty years.

My work was panels, large tables and same 3D. the most large panel was 36”x72”.

What I aspect from your seminar is to have an idea to do large work, as murals.

I never did  any things like this and I need you to convey all information , including communication with customers, etc. , about this technique.

See you in Austin

Delfina

Anne Crossway

I've been doing sculpture and mosaic for 6 years, but got sidetracked by this estate work.  Hope to become MUCH more active this year as I get back to full time effort in my art.

I gravitate towards 3-D and large scale works.  Am interested in doing public art projects.  Want to learn everything I can that can help make successful applications for these competitions.

Mrs My-Xuan Ho

I work full time in Information Technology area.  My passion is mosaic and I have been a mosaic artist for 12 years.  I have participated in three the art fairs in a year and also in galleries and restaurants in the Bay area.  I love to work on a large scale installation, such as murals, water fountains, & fireplaces.  I'd love to know about how to get in to public art.  Majority of public arts requires artists to have their own insurance, worker's comp for their helpers (installation contractors,...), how expensive does it cost?

Ms Susan Lynn Mathis

I've been doing mosaics for several years and have taken many classes.  All of my work so far has been wall hangings, trays, benches, and garden art such as frogs, etc.  I'm co-leading a mural project that the Minnesota Mosaic Guild will be completing this spring.  The other leader has lots of experience with murals, but I have none.  I'll learn from her when we get to the installation phase, but I need to learn as much as possible from you about installation -- what to do and what not to do.

This mural will be a community project.  But, if I decide to do one on my own some day, I need to learn about pricing.  I also need to know if I can handle the installation on my own - as a one woman showl

Look forward to the class!

Susan Mathis

Michael Kruzich

More specifically, I am really trying to figure out how to have/create more of a balance of commission work (that I know I'm getting paid for) and my own artwork, rather than only my creating work in the studio and praying someone will like it and buy it.

In this next year a couple of friends who bought a fixer-upper house here in the bay area have asked me to do some external mosaic work eventually; an outdoor entry-way-floor panel, and also eventually design something for their pool (not sure yet whether we're doing the whole pool or insets surrounding the pool). In any case, I have not done a large installation nor an external installation before and I really want to understand well what I am doing, and all of the considerations involved before I begin the steps to achieving this.

The other project I have in mind is, in fact, only an idea at this point. Meaning, I haven't been asked to do this, rather it's an idea for the community that I have and would like to do, that I eventually will have to approach a merchant's board, etc etc to pitch the idea and see whether there is interest in fundraising, applying for public art grants, etc etc.

 Basically the proposal involves doing 7 -5' x 4'ish panels (mounted in attachable/detachable frames) that would go on the outside of a prominent building at the entrance to the Castro area here in SF. Each of the panels is separated by a tall window and would be a collage of images depicting a separate aspect of the LGBT community here in SF with each of the panels having a background of one of the colors of the massive rainbow flag that currently flies outside this building. 

The drag-queen portrait series that I am currently working on is intended, among other things, to give me some specific examples of work to show related to the subject matter, once I figure out how to approach this.

I hope this helps in some way to show you why I was interested in your seminar. Basically I have ideas for projects that I don't have experience in how-to-approach, nor in hands-on execution/installation and I'm hoping to learn how to work some of that out. 

Jane Pettit

SO sorry to be the laggard.  I have a solo show opening tomorrow and it’s consumed the week.  Thanks for all this pre-work and the interest in our interests!  Met you in San Diego and checked out your show and video—great stuff.

I started in mosaics using only recycled materials and now add traditional materials thanks to discovering SAMA 3 years ago. I make outdoor sculpture (Sherri’s concrete camp as a base) and indoor wall art and learning adhesives and attachment techniques is a big challenge since I am drawn to using 3D found objects, both as substrate and tessera. I’d like to venture into outdoor murals, but I need a nudge…or perhaps a shove…or probably just a good swift kick.  Thanks in advance for providing it!!!!

The topics from your list that interest me (read as: scare me) most are:

a.       Contracts/pricing

Materials sources

substrates and adhesives

Grout/no-grout considerations

Edge treatment

 Exp w/ Wedi 

__________________

Jane Pettit

SO sorry to be the laggard.  I have a solo show opening tomorrow and it’s consumed the week.  Thanks for all this pre-work and the interest in our interests!  Met you in San Diego and checked out your show and video—great stuff.

I started in mosaics using only recycled materials and now add traditional materials thanks to discovering SAMA 3 years ago. I make outdoor sculpture (Sherri’s concrete camp as a base) and indoor wall art and learning adhesives and attachment techniques is a big challenge since I am drawn to using 3D found objects, both as substrate and tessera. I’d like to venture into outdoor murals, but I need a nudge…or perhaps a shove…or probably just a good swift kick.  Thanks in advance for providing it!!!!

The topics from your list that interest me (read as: scare me) most are:

a.       Contracts/pricing

Materials sources

substrates and adhesives

Grout/no-grout considerations

Edge treatment

 Exp w/ Wedi

Jennifer Freeman

I'm so looking forward to your workshop in Austin.  I think that the main reason I signed up for it is because--when I get a commission--whether public or private, if I'm given free license as to design (which should be the "best case"), I am often stymied  in coming up with the actual imagery.  I'm okay if I'm "copying" or basing on something else, but I feel very unimaginative in defining my own subject matter and composition.  I'm hoping for some direction, here, if only some suggestions as to where I might go for inspiration, or how you personally deal with this issue.

With regard to my own mosaic practice to date, I have done a handful of public art projects (i.e. local municipalities), private commission work (i.e. wine cellars, backsplashes, etc.), some spec work, some teaching (John C. Campbell Folk Art School; a local community art school), and am represented in a local gallery.

As always, I am also interested in a number of technical issues.  For example, I am about to embark on a 95 s.f. piece for a local park, which will be in the ground.  I have identified my materials, but still have to become knowledgeable about with such things as:  necessary cement underpinnings; expansion joints, and if they apply to a floor piece 22 feet in diameter; and the best thinset/grout options for this outdoor application.

Ms Ann E Soto

My name is Ann Soto. I have been an artist all of my life. Although I can become proficient at nearly any kind of art I try, nothing held my interest as a lasting pas- sion for me to spend my life on. However, during the first day of a beginning mosaic class, I knew within 10 minutes that I could do mosaic work the rest of my life and never tire of it. I set up my studio in my backyard.

When I want a custom tile for my mosaics, I design and make them out of fused glass.

I have worked with broken ceramics. I utilized styrofoam sculpture as an inner core for 3D mosaics to keep the piece down to a reasonable weight.

I prefer to use epoxy grout.

I have done one floor tile mosaic meas- uring 24” x 24” using a reverse method. I provided the mosaic in sections with web backing that matched the dimensions of whole tiles used on that floor for the pur- pose of easy installation..

Ultimately, I want to be an expert at mosaics. I am weak at understanding the scope of large installations and I want to be confident of the integrity of the large work that I hope to create.

Although I have extensive art direction, project management, and design experi- ence in print media, I didn’t see anything on your TOPICS Covered that I can’t learn from. However, if I have to pick what I need to know most it would be pricing, estimating how much material is needed, ordering materials and the technical considerations. (I know that still covers practically the whole list.)

Ms Kimberly Schonfeld

I am really looking forward to the workshop and appreciate all the time you are putting into the class.  I have started focusing more of my time on the 3d aspect of my work and am learning more about the mold making process.

I also have an interest in getting more involved in public art projects ..... So I am very interested in the pricing process (all those pesky parts of the project that I am not familiar with and need to understand ...no gotchas).  Also, I live in Wisconsin.  I am very interested in the technical aspect of dealing with cold and snow issues.

Lastly....what about maintenance?  What should be included for the customer so their long-term expectations are met ...