MSoP Board of Directors Retreat 2021!

The Board of Directors of the Mosaic Society of Philadelphia met on Saturday, June 26, 2021 at Chestnut Hill Presbyterian Church for their annual retreat. Last year’s retreat was held in multiple virtual sessions so all current board members were looking forward to meeting in person for the first time since the Spring of 2020. For a few of the newer board members, this was their very first time meeting the rest of the board in person.

The first order of business was to elect officers for a term of one year. The new officers are: President – Veronica Kairos, Recording Secretary – Judy Styles, Treasurer – Donna Mitchelson. The rest of the board, serving as Members-At-Large are: Alissa Blumenthal, Maureen Grossi, James Schlichting, Michele Sokoloff, and Lucinda Weller. Also in attendance, either in person or virtually, were Ilene Haas, Carol-Stirton Broad and Suzanne Daub.

Board members looked at our organization’s performance, mission statement and upcoming events, practiced team building skills and looked towards building a stronger future organization. Board members agreed to each oversee various functions within MSoP to help coordinate our functions and improve coordination within our organization. At the end of the day everyone agreed that MSoP has the potential for a vibrant future with potential for growth and increased opportunities for our members.

The board wishes the best to our board members stepping down after fulfilling their terms: Suzanne Daub, Ilene Hass, Jill Snyder and Carol Tinkelman. MSoP values your service and appreciates all that you brought to our organization while serving on the board.

"Aya Kinoshita and Her Herbal Meadow in Pennsylvania" by Marcy Rosner

As soon as Aya Kinoshita moved to Lancaster, Pennsylvania in 2020 she joined MSOP. Having met one of our members on an Italian trip, she was thrilled to become part of our organization. Aya shared with me her very interesting background, how she became interested in mosaics, and details on her latest installation.


Aya was born in Tokyo, Japan and has traveled the world. She has lived, worked and studied in many cities including Melbourne, Paris, Tunis, New York, Copenhagen, and most recently Los Angeles. After graduating from Waseda University, in Tokyo, with a BA in Social Sciences, she enjoyed working with international visual and performing artists. She received an MA in Anthropology from Hunter College, in New York, and continued her studies with Doctoral research at Waseda University in Art Museum Management. In both Tokyo and California, she incorporated art, culture, and language in her teaching while continuing art museum research globally.

Aya relocated to Southern California in 2015 to continue her research in art museum management at California State University. In 2016 she met her neighbor Katherine England, a renowned mosaic artist. Although she had worked in a variety of capacities in the art field, she had never actually made fine art herself. She began taking classes in Katherine’s studio and mosaics soon became her passion. I am amazed at her talent and the enormous body of work she has created and projects she has been involved in, in just five years.

Aya found the mosaic world in California “fresh and liberating”. Through Katherine, Aya became involved in many community projects and team murals. She began assisting her mentor and eventually taught her own classes. She volunteered and later worked at Piece by Piece, supporting lower income and former homeless people through mosaics.

Although Aya had not done a solo public art installation before, she applied to the call for artists from Penn State Health Hampden Medical Center publicized by SAMA. They were looking for multiple large murals to be made for various in spaces their new building, each having a different theme and size.

Aya sent her portfolio to the committee and once accepted was given her theme. She had applied for the 4 feet x 4 feet mural but instead was asked to do a 4 feet x 12 feet piece, which was a greater challenge. Her theme was Meadow, open to her own interpretation.

Aya began researching immediately. She had no knowledge of plants indigenous to the area, and wanted to focus on medicinal plants was for the medical center. She included bluebells and black eyed susans which are flowers grown locally. She wanted everything to have a symbolic meaning, many spiritual, and the overall mural to feel relaxing. For example, the Hummingbird presents lightness, responsiveness, and resilience. In Native American myth, it is a healer. The Butterfly in Christianity symbolizes rebirth. Interestingly, Monarch Butterfly in particular means that you are on the right path! Bees and ants represent teamwork which reminds us of our medical professionals.

The next step was to send drawings to the committee for approval. She submitted two designs in November. The committee liked her free form work they had seen and asked her to make the mural without a background. By December she was given an approval on the second design.

One of her biggest challenges was finding supplies as she was still unfamiliar with the area. Once again, she researched and was able to find what she needed. She needed to be very specific about size, weight and materials. The piece needed to be fire resistant and she worried it would be too heavy if she used the fire retardant MDF boards. She requested that the facility be responsibility for installation since they wanted it to hang directly on the walls.

Aya began work on three separate panels. She used ½” inch wedi board cutting each shape with a jigsaw. She finished the edges with fiber tape and covered the tape with thinset. She attached 45 washers to the pieces so they could be later screwed into the wall. The majority of the forms were stained glass. She also used some ceramic tile and millefiori. The bees and ants were fused in a kiln. Glass sheets were cut with hand tools, nippers and a scorer. She used Welbond to attach most of the tesserae; white thin set was used on slightly translucent glass such as the yellow flowers. She grouted most of the pieces in her studio but will have to add some after the installation.

At the time of the interview, Aya had not yet seen all the panels together. The installation was supposed to be in in May but has been postponed as the building is not finished. She had an open studio for neighbors to view the finished pieces before she delivers them. The pictures shown here are beautiful but I’m sure seeing it up close would be quite a treat. She is hoping that patients viewing the mural who may be facing medical challenges, it will be a source of pleasure, enjoyment, peacefulness, and hope.

"A Visit With James Schlichting" by Amy Fleck

When I spoke with James Schlichting, he referred to himself as a “jack of all trades.” He then

chuckled and added the well-known rest of the phrase, “master of none.” Hearing about James’ work

and seeing pictures, it is clear he not the “master of none.” James has always been an artist and

created in one form in another.

James went to Buffalo University and became an art teacher and then went on to get a B.F.A in

Sculpture & Painting. James taught for 10 years in the Philadelphia school system. Besides art, he

was also a vocational education teacher.

Sculptor, painter, Hollywood set carpenter, cabinet maker, mosaic artist…while seemingly disparate

art forms, they share the commonality of being ways in which James has worked with his hands to be

creative. His journey to become someone who designs and creates and collaborates on large-scale

community mosaic installations has not been a straight path. He has left his artistic mark in many

ways in many different places.

James started out in Los Angeles where he was a Hollywood set carpenter. This is where he started

making mosaic-topped tables, using Malibu tiles made by friends. From there he headed east towards

Pittsburgh when his former wife became a professor at Clarion University. There he created custom

mosaic tables which were available in many stores from Pittsburgh to Hudson. He also continued to

draw and paint. After 5 or 6 years James felt he needed to do something more lucrative and began his

career as a teacher.

While James no longer makes mosaic tables, he has, throughout the years, traded tables for large-

scale, often mixed media, mosaic murals. These murals showcase both James’ abilities and eye for

color and interesting objects and tiles as well as those of the community members with whom he

works. His mosaics can be found in Pennsylvania, New Jersey and Florida.

In Pennsylvania (Philadelphia specifically), there is a mosaic mural at Ben Franklin High School

created with volunteers. Another big project where he worked with many volunteers is in the

Fairmount Park area. Currently, he is working with community volunteers as well as other members

of MSoP at the Overbrook Environmental Center on a 60 ft x 12 ft mosaic mural.

A taste of James’ work can be found in South Beach in Florida. This project was created in

collaboration with his brother-in-law. They created it in New Jersey and then took it with them to

install on a balcony. It was a colorful and fun installation that fit perfectly into the picturesque

landscape of South Beach.

James currently lives in Collingswood, NJ, not too far from Camden. Camden is the home of one of

James’ biggest projects, a Four Seasons Mosaic Mural, which will be dedicated to the Heart of

Camden. This mural has both mosaic parts and painted parts and was originally started with help

from Father Doyle as a way to engage and include community members in beautifying the area. It is a

four-sided installation, each panel being 14 ft high by 20 ft wide. To date over 500 volunteers have

worked on this project which was started 10 years ago. With “Spring” being the only unfinished

portion, they are waiting on funding to finally get the project completed.

James, who is retired and has some disabilities, including no sight in his left eye, as a result of a

motorcycle accident says he is lucky to be alive. Loss of some of his vision has kept James from being

able to drive, but it has not kept him from continuing to work with the community to create mosaics

that everyone can enjoy.

"A Well Fed Artist"

By Amy Fleck

“Starving artist” is a term with which we are all familiar.  It brings to mind someone whose artistic endeavors are so a part of who they are that the material world doesn’t really matter – mere squalor and hunger cannot not dissuade them from their beloved pursuits.  While that is quite a romantic notion and would surely make for a good Netflix Original Series, most of us who have any kind of love of art or craft usually relegate our artistic activities to our free time.  By and large, we all like to eat, live inside and have running water and electricity.  As a result, art becomes an avocation while we work at paying jobs.

Jessica Liddell, owner of Bella Mosaic in the Mt. Airy section of Philadelphia, has found a way to maintain her creativity and use it to earn a living.  Since 1997 Jessica has been making mosaic art professionally.  The key it seems is to be creative about your creativity!  Jessica doesn’t just make mosaic art and hope someone buys it; she has put together a business where clients seek her out for projects and she in turn steers the projects in a direction that satisfy what the client wants but give Jessica the ability to be true to her artistic vision for both the specific project as well as her own aesthetic sense.

I asked Jessica how she found her way to a career in mosaics.  She had been, in her words, “obsessed with ceramics” since she was 16.  Unlike today, where tiles are what she makes, she made a lot of pottery.  Then, when she was 20, she took a break from school and went backpacking through Europe in hopes of figuring out what she wanted to do with her life since her original plan of being a teacher didn’t feel like it was going to be right for her.  Enter Barcelona, Spain and its mosaics.  Jessica has never looked back.

When Jessica returned to the United States she went to CCAC (California College of Art and Craft).  There she took a class with well-known mosaic artist, Donna Billick.  Besides learning about mosaics and tile making from Billick, Jessica also took to heart her advice to have something on the side to supplement your art.  In Billick’s case it was owning real estate.  While Jessica has dabbled in real estate, she has mostly been able to financially support herself (and eventually her family) with jobs that still allow her to be creative.

While being a full-time teacher wasn’t what Jessica decided on professionally, she has always taught.  She has essentially become artist-in-residence at many schools, sometimes staying there for a whole school year.  She works with the children to create mosaic works of art that are installed in the school.  Jessica believes it is powerful to be creative and that there is so much value in having the children work collaboratively.  Getting messy and manipulating materials is something special for many of these kids who are often more adept at computer and video game usage than working hands-on.  She feels the mosaic projects she does with kids helps to exposes them to something new and lets the shine and connect with the world in a different way then they are used to.  The finished projects give the children a sense of pride and community.

Besides teaching at schools, Jessica has also done corporate team building events.  While these are adults and not children, the end products still result in pride and community connection.  Jessica also believes the process of creating is beneficial in the corporate world.  While participating in these projects the hierarchy of the corporate world falls away.  People are working, communicating and learning together on level ground.

Jessica also runs classes/open studio time at Bella Mosaic.  These are much less structured forays into creating mosaics.  Originally, Jessica would run classes in 6-week intervals and then start over with a new group, but she found that her students really wanted more.  That is how her current studio sessions came to be.  People can do pay as you go drop-in classes at the studio; coming as often as they’d like.  While informal, students still benefit from Jessica’s expertise as well as from collaborating with other students.

But wait! There’s more!  In addition to all her teaching, Jessica creates her own mosaics.  While she is open to whatever type of project her clients want, Jessica is often sought after for her large installation pieces.  This type of work allows Jessica to tap into her creativity and love of tile making and mosaics.  With the clients’ desires in mind, Jessica steers the projects so that she is able to satisfy them but also remain personally excited for the project.  These installations give her the opportunity to try out or work on new techniques she’s interested in.  Over the years, via networking and word of mouth (not to mention her amazing work, which speaks for itself), Jessica has not had too much trouble finding people and companies to commission her work.

Jessica’s artistic ability as well as her business acumen have set her apart from many artists.  She has always found a way to turn passion into profit.  She has been able to do so without having to compromise her vision of what she wants to create – an impressive and unusual accomplishment.

If you are interested in getting to know Jessica better or learning about mosaics, be sure to check out the offerings at Bella Mosaic.

SAMA 2021 Goes Virtual

By Marcy Rosner

The First Virtual American Mosaic Summit took place February 5 – 7, 2021. The Society of American Mosaic Artists (SAMA) was forced to postpone their 2020 annual conference in Tucson due to the pandemic. Realizing a live conference was still not possible, the organization explored a new format. We are truly fortunate to be living in a time with such advanced technology.

After interviewing six of our members who have attended in the past as well this year, I feel that I have really missed out on unforgettable opportunity. I plan join and support the organization and hope to attend the conference next year regardless of the format. I am sharing some of their highlights including the differences this year, favorite events, as well as the advantages, disadvantages and challenges of live vs virtual programs.

The conference began Friday morning with opening remarks, announcements, conference hub tutorial and the virtual vendor marketplace introduction. Other events included workshops, presentations, the Mosaic Artists international exhibition, and the Art Salon Auction.

All interactive workshop sessions were on Friday, ranging from 4-8 hours. There was an additional fee for workshops and materials and preregistration was required. Materials and pertinent information were mailed ahead by the instructor. Five of the women interviewed for this article participated in one workshop; two as instructors and three as students. Their workshops were all different but they all had very positive experiences. They all agreed that the instructors were very well prepared and the sessions ran smoothly. All materials were pre-shipped and arrived on time.

Jessica Liddell taught Collaborative Mosaics: Facilitating Community Projects with Children and Adults. During the past four conferences Jessica presented during two sessions. This year, however, instructors were asked to teach only one. She chose the topic she thought would be more easily adapted to virtual platform. She expanded her lecture time, showing photographs of her many varied projects. Although the workshop was less interactive, participants did break into groups and rotated through four different hands-on activities. Her students made same indirect mosaic samples using materials from kits she prepared and shipped. The class ended with a question-and-answer period.

Carol Shelkin, who has been teaching at the summit since 2009, says she is honored to be invited as an art teacher to offer whatever is on SAMA's roster for the year. Her workshop for 2021 was Realism in Mosaic using Stained Glass. The nine-hour intermediate/advanced class was scheduled from 11:00am -8:00pm to accommodate different time zones, with an hour for dinner and several stretch breaks.

Over the past year, although challenging at first, Zoom has become Carol’s “best friend” so she was able to adapt well to the virtual summit. She also credits her IT person Rise Skobeloff with helping to make the day a success as she assisted students with computer and Zoom challenges.

As common in her Carol’s workshops, the goal was not to come away with a finished product, but rather to gain an understanding of professional artist techniques and process. Students provided their own supplies based on the detailed list they received after registration. They worked at their own pace while exploring traditional and non-traditional methods and were encouraged to develop their own unique mosaic style.

Alissa Blumenthal loved her all-levels hands-on workshop Riding the Magic Carpet taught by David Jarvinen. She found her 6-hour session very well organized and not too long. Students were asked to choose a color scheme and received an overabundance of coordinating materials. Alissa was one of the few students to finish her project and was able to learn some new techniques.

Suzanne Daub attended Diane Sonnenberg’s workshop From Concept to Completion: Exploring the Creative Process. She was inspired by the theme of creating her own voice and nurturing her artistic spirit. Her materials arrived two weeks ahead and included journals which she wrote in 10-15 minutes daily. As part of the pre-planning project, she created a Pinterest board and followed the writing prompts in the binder Diane prepared. She focused on what consistently appeals and speaks to her personally. She also received four pieces of 4”x4” substrates and a bag of materials. During the workshop participants created several pieces with strict constraints during a 30- 45-minute time period. The purpose was to overcome fears as barriers that prevent us from trusting our imaginations and working to our full creative potential while moving out of our comfort zones.

Carol Stirton-Broad attended the four-hour workshop taught by Kelly Knickerbocker Finishing School: Surface Transformations for Tesserae and Mortar. Judging from Carol’s enthusiasm MSOP is fortunate to be able to offer Working Abstract in Mud: Lecture & Demonstration with Kelley Knickerbocker virtually on Saturday March 27, 2021 Noon -2PM.

The hour-long presentation series included in the registration fee were on Saturday and Sunday with breaks in between to visit marketplace and socialize. Lectures were scheduled at different times so participants could attend all sessions. Presenter spoke of specific challenging mosaic projects. They could be later viewed on the SAMA website for two weeks and those who did not register for the summit were able to access them for a fee.

Carol Shelkin marveled at the variety of the presentations that were offered, as they were different than she expected and all inspiring. She remarked “the insights and offerings were outstanding from methods, historic achievements, community involvement and art from ashes. “ She also enjoyed the Q &A's.

A favorite of several members was The Great Train. Stevo Sadvary was commissioned by Rachel Sager, the owner of The Ruins Project. The mural is perhaps the world’s largest mosaic train, covering 6 feet high by 66 feet long wall. The project site of the mosaic mural is an abandoned coal mine. It sits along the Youghiogheny River and the Great Allegheny Passage (GAP) in Pennsylvania, a former railroad line that was reclaimed and is now a popular bike trail.

The mural is a steam locomotive, tender car, coal car, and caboose, replicating the train one that carrying coal many years ago. It pays homage to the mining, the steel and the railroad industries, and to all the workers that built America into what it is today. The mural is made mostly from stained glass produced locally. Small pieces of coal from the site and metal objects from the past, some rusted, were also used. Built into the mural with small cut tiles of stained glass are the names of the artist’s father and grandfather. Both men were killed as the result of mining accidents and the mural is dedicated to these men.

Another highlighted presentation by several MSOP members was “From Hand to Hearth: The Untold Story of American Mosaic Fireplaces” with Ted Ellison. Ted is an artist who makes original mosaic and leaded glass for new construction and fine homes. He has researched the works of architects Louis Sullivan and Frank Lloyd Wright and shared their collaborative installations through an inspirational illustrated presentation.

Suzanne Daub also enjoyed Margaret, Esther, and Helen Bruton: Mosaic Mavericks, 1934-1963. Wendy Good celebrates the accomplishments of the Bruton sisters during her presentation. The three sisters were innovative and prolific artists in California and played a pivotal role in the modern mosaic revival of the 1930s.  Wendy included biographical information as well as images of their mosaic works in her power point in hopes of inspiring and educating attendees by making them aware of these accomplished and groundbreaking women mosaicists.

Alissa also enjoyed Katherine England’s Not a Trained Artist but I Play One on TV – Journey from Casual Tourist to Professional Installer. She found her inspiring as she discussed trusting oneself and embracing opportunity and challenges. She shared her personal journey detailing her architectural installation.

Mosaic Art International (MAI), the annual juried exhibition, is highly competitive and includes works from well-regarded artists representing a variety of mosaic techniques and materials. This year 54 works were chosen, including 44 fine art and 10 architectural and cite specific. Seven awards were given, five in Fine art and two in Architectural and Site Specific. There was a virtual slide show Sunday during the conference, and the winners were announced then. It can currently be viewed on the SAMA website (https://mosaicartsinternational.americanmosaics.org)

This year MSOP member Anabella Wewer was one of the two jurors and she graciously shared her experiences and the judging process with me. This was the seventh conference Anabella attended; her first as a juror. In the past she has moderated workshops and translated for instructors who are not fluent in English. She believes that her extensive training and professional resume is what prompted the Board of Trustees to invite her to the jury. The second judge, Julia Lang-Shapiro, is a school administrator. Typically, there are three judges, mixing artists with other professionals to bring several perspectives to the table.

The virtual platform allowed more pieces of work to be accepted than in the past. Typically, the gallery set up and wall space are limiting factors, while this year the main limitation was how many pieces could be printed in the catalog. Anabella acknowledged the difficulty of photographing mosaics, but emphasized the importance of submitting high quality photographs to any jurying process. Images are the only way jurors can evaluate the work, so it is important they are the best they can be. Anabella suggests hiring a professional to shoot the work, as a photographer will have the lights to cut down on glare and bring out detail in mosaic work. Every year, many candidates for MAI are disqualified on the basis of the photos alone. It is impossible for jurors to see detail if images are blurry or low resolution.

The judges viewed the artwork blindly, without artist identification. They were given criteria and instructed to view each piece as a fine art mosaic. Each juror can bring their own criteria to the process as well. For Anabella, fine art mosaic meant that the work has to present the qualities of fine art, such as good craftsmanship, use of technique, and good design principles. For her whether or not one “liked” the piece was not a deciding factor, except when awarding her Juror's Choice award.

Part of the goal was also to show a variety of styles, applications and medium. They began with 247 images. After consideration, each of the women narrowed the choices down by dividing the number in half. This was done several times until they got to the point where they discussed each piece. Coming from different backgrounds and perspectives, Anabella and Julia had different definitions of what constitutes a mosaic and what are the most important elements. Some of the pieces were in both lists; some were not. Through conversation, they influenced each other’s opinions, compromised, and eventually decisions were made; not an easy task. They were each able to choose their own recipient of the juror’s choice award.

SAMA tries to choose different judges every year, understanding that everyone brings to the table different backgrounds and perspectives. The judging process can be stressful and difficult. Although the pieces are viewed blindly, some of the works are completely recognizable, so, the challenge then was to only use what was in front of them to judge the work, and not their prior knowledge of the piece. One must be sure to view all works objectively. For Anabella, is has been a learning experiences; one she enjoyed and appreciates.

As always, the Art Salon was included in the registration fee. Unlike the MAI, the salon is not juried. It is all inclusive and all attendees can show their work and has this option to include it in the silent auction. Attendees are able to purchase smaller, more affordable pieces and had over 100 works to choose from.

Naturally, the format was different this year. Everyone was in the same room at the same time. Photographs of each piece, a description and alternate view appeared where bidding took place. Unfortunately, there were technical glitches that caused the bidding and sale prices to be shortened but there were still purchases. Alyssa was very excited that she won the bid for Carol Stirton -Broad’s Memory Ware Mosaic Jug. Carol wasn’t as fortunate and was disappointed when she was out bid on the three pieces she wanted.

An integral part of the of the conference that could not be adapted and was missed by our members was t missed was the Mosaic marathon room. In this room, participants come together to create a large-scale mosaic. Attendees are able to work on a section of the piece in their free time. The result is a lasting piece of art that is donated to a local charity or needy establishment in our host conference city. This is usually a social, creative, and productive time.

Jessica Liddell became more involved with the conference after volunteering on the project in 2015 when Philadelphia was the host city. Many MSOP members were instrumental in making it a huge success. The benefactor was the Robert Morris Elementary School in North Philadelphia; the piece is set in the school lobby and is meant to add to the environment.

Networking and socializing are always a big part of a conference. People who travel consistently look forward to seeing others they don’t get to see during the year. In fact, MSOP began at the SAMA summit when a group of artists decided that it would be nice to get together with other more than once a year for local support. Although there were no kisses and hugs, participants were able to chat and socialize with others. Carol Stirton-Broad sat “next to” a friend and they were able to comment during the presentations on their private devices.

There are advantages to a virtual event. People with mobility, financial issues, or travel issues are able to participate. Several of our members had only attended the conference when it was in Philadelphia several years ago, but really enjoyed it this year. The change in schedule allowed those who instructed or moderated were able to view call the presentations, something they were able to do before.

Carol Shelkin thought it was brilliant that the organizers taped the presenters to have access for two weeks following. She was thrilled to be able to watch a couple presenters during the following week that she would have missed for an appointment.

Suzanne enjoyed being in her own home. Watching presentations in a favorite chair is more comfortable than a dark conference room. One can get up and move without disturbing others.

The six women I interviewed unanimously agreed that this year’s summit, with all its challenges, was a great success. The volunteers, presenters, and instructors all did an outstanding job. They all plan to attend again. I know I am hoping that by next spring we will be back to some type of “normal lives” and attending live events. However, the virtual platform has enabled us to reach to more people across the globe.

When I asked the woman why they attended the conference, there were common threads. SAMA is an important organization and this is a way to support the community as it is their major fundraiser. Sometimes, being an artist is a solitary job. It’s a wonderful opportunity to be with old friends and new, in a nurturing, creative environment where we can learn and grow together.

Talking with Robyn Miller: Inspiration Versus Copying

By Amy Fleck

How often have you seen a craft or a piece of artwork and thought “I could totally make that/do that?” You might even throw in that you could do it for less money or that it doesn’t even look that hard. Of course, we don’t always focus on the fact that the hardest part of creating something is often coming up with an idea.

Using other people’s ideas to create something of your own isn’t unique to mosaics, but when I spoke to Robyn Miller, a local mosaic artist, we focused on her mosaic work and how she found her inspiration. While Robyn has sometimes been upset to see what feels like exact copies of her work, she still sees the value of telling people about her work and techniques. That was the jumping off point for our conversation. We talked about how she works and how you can be inspired by the work of others and use that in your own work without just copying.

Robyn went to Girl’s High, in Philadelphia and then on to Pratt Institute in New York. She taught art in the Philadelphia school district for 37 years and considered herself to be an Artist in Residence at her school; her classroom doing double duty as her studio. Robyn has always created art, but it wasn’t until she retired a few years ago that she was able to commit the time to creating a consistent body of work.

Once she had the time, Robyn found her “hook.” After seeing her work, you can’t help but agree that her take on mosaics is for sure her hook. You can see for yourself at http://www.robynsuemiller.com/. Robyn’s work is different from many other mosaic works of art. It’s more than just 3-D. It has a bas relief quality to it, despite not being carved. Robyn’s work is visually stimulating (I am personally a big fan) due to both its textural quality as well her color palette. Her mosaics contain not only regular tile pieces, but also found objects such as buttons and beads. But really, the hallmark of Robyn’s artwork, and what makes it so special, is that it also contains “tiles” she makes herself and which are unique pieces of art all on their own.

Robyn has always been a collector and her collections are part of what inspired her. She found a way to incorporate her love of things like figurines and cameos into her work. She came up with a way to use her favorite objects over and over instead of just once, as would be the case if she affixed the original to her pieces. Robyn came up with a way to make molds of her favorite items. Once the mold is made, she can make many of the same item. Once made, the items are glazed in the vibrant colors Robyn favors. After that, well, you can see for yourself how she uses these items in myriad ways. Essentially, Robyn has made mosaic artwork a creative process that has two parts. Creating items she’d like to use in her work and then coming up with ideas to use those items.

We now know that Robyn Miller’s creativity and abilities have many facets. She takes objects she loves and creates molds of them so she can make many copies (she figured out how best to make the molds, a whole other skill). She then uses painstaking care to glaze her items with amazing, colorful detail and then she incorporates them into her mosaic pieces.

While knowing all that and looking at her work is inspirational in and of itself, it’s hard to know where to go from here. Do you try to make molds yourself? Should you start collecting items? Should you add textural elements to your work? How do you do any of those things without looking like you’re copying?

Those are all great questions and a great jumping off point to discuss what it means to be inspired by someone’s work versus copying it. If you decide to incorporate found items that are special to you into your pieces, that’s being inspired by the idea. If you attempt to make your work look like Robyn’s, by essentially creating exact replicas, you are just copying. Now, sometimes copying something is great practice to learn techniques you are interested in mastering, but certainly, no one would think it okay to duplicate someone else’s work and sell it (think designer handbag knockoffs).

We all want to create original art that is satisfying to both ourselves as well as to those to whom we show it. Robyn calls it finding your voice. As is often the case for many of us, deciding what we even want to create is a challenge. And, once you figure out what you want to do, how do you get started? I think the way to navigate the fine line between inspiration and copying is to look at the way Robyn is inspired and how she turns thoughts and ideas into artwork.

One thing Robyn shared was the difference between planned work and work that just evolves as you go. If you get mired in the planning and the steps you need to take as well worrying the whole time if your work is coming out “right” some of the fun and spontaneity can be lost. Robyn doesn’t know what her pieces will look like when she starts. Her work evolves as she goes. She starts with a piece she’d like to use and goes from there. She describes the process as intuitive. Basically, when she finds something that appeals to her that she knows she wants to use, she builds on that. Each idea helps her decide what is needed next. Robyn shared a quote from Carol Stirton-Broad (mosaic artist and one of the founders of MSoP), “I love exploring process and materials without an end goal. Some of my favorite pieces have grown out of small tests or exercises.” This is not to say there is no value in planning your projects, it’s just another way let your ideas unfold.

I have often looked at other people’s work and books and Pinterest to get ideas. When something appeals to me, either color or technique or subject, I save it either on Pinterest or I take a picture of it to remind me. Robyn suggests keeping an inspiration notebook/sketchbook. Use those ideas and images to decide what kind of work you want to create that is unique to you and your vision.

Robyn believes another way to be inspired is to ask for opinions from people whose work you admire; a mosaicking mentor if you will. You can run your ideas by this person (or people) at any point in your process. When you let someone else know what you’re going for they can sometimes help direct you where you want to go. This is great advice for both creativity and technique. A mentor can help you discern if you are taking the right steps to realize your vision or help you pick the best grout color for your project.

Giving some thought to how Robyn works should help you be able to jump start your creative process and find your own voice. Think about if you work best by planning or letting things evolve, start your inspiration notebook/sketchbook or online idea folder and seek out a mentor or become part of a group who mentors each other.

Laura Lyn Stern on Working with Clients

By Marcy Rosner

The purpose of creating art is self-expression. Through our mosaics, we are able to release feelings and emotions. It can be therapeutic and a stress reducer. Some artists are content creating for the pure enjoyment and have no need to share with others. However, for many of us this is not enough. We may need the financial support. Recognition and feedback from others may be fulfilling. Our own homes may be overrun with mosaics and we may have made gifts for all our friends. We want to continue to produce and buy supplies but don’t know what to do with all we make. Whatever our reasons for expanding our scope it can be difficult to make the leap. How do we turn our passion into a business?

MSoP member Laura Lyn Stern has been able to do it and shares how she began working with clients over 35 years ago, her insights into what has made her successful, what she finds most rewarding, and the challenges she faces.

Laura Lyn knew from a young age that she wanted to be an artist, although her parents were not in favor of her pursing art as a career. She studied textile design as an undergraduate and holds two master’s degrees in ceramics and sculptural design. She began making ceramic tiles when she no longer had the studio space for large projects. The question was how would she support herself doing something she loved and what additional skills did she need?

As well as developing technical and creative skills, one needs to know how to make a living as an artist. Laura Lyn believes that a business background is important for artists, an area lacking in art education. After graduation, she was fortunate to have been hired by several companies in Lancaster. These jobs gave her opportunity to learn a great deal about business while to expressing herself creatively and experimenting with new techniques. She began to gain notoriety. While working as a product designer at Wilton Armetale, her service piece collections were sold at stores including Bloomingdale’s. She also made production tiles for a company in Lancaster that were featured in several national magazines including Southern living and Veranda.

Laura Lyn expanded her horizons when she moved to Philadelphia about 27 years ago. While teaching art part time, she continued producing ceramic tiles. She worked with interior designers and sample tiles for kitchen places and contractors. Her business began to boom and she realized she was earning more money making tiles than teaching. Unfortunately, the recession hit. People were spending less on custom backsplashes and shopping more at Home Depot. However, they were buying more individual art. People were looking for quality wall pieces that were intentional and unique. She embraced the opportunity and changed her focus to suit the needs of the public. Laura Lyn has learned to tailor her business to what the market dictates. She continues to thrive making some very expensive and extravagant installations.

How did she acquire her client base? Laura Lyn believes marketing is an important skill and one of her strengths. Connections and exposure are key. After reading an article in the Philadelphia Inquirer about the tiles Laura Lyn made for her own kitchen, a client commissioned her to design a piece reminiscent of Monet’s Giverny. She has many

repeat customers. She has made other connections through galleries. Networking with other artists and professionals and joining organizations are also helpful. Her Rousseau mural was commissioned by a client who found her through MSoP.

When asked what the key to her success is, she said respect and a mutual relationship between herself and her client. Ego doesn’t come into it. It takes a certain personality and negotiation skills. When designing for someone else she must maintain a technical standard, but her pieces reflect the taste and interests those who are living with them daily. She spends a lot of time finding out what these preferences are, paying attention to the overall décor of their home, how they dress and what they do. Clients are active participants. She considers their conversations to be the most important thing as she gathers information. It easier for her to focus if the clients are very specific. One of her strengths is knowing the right questions to ask. After each work session, they are updated with drawings, pictures and her progress. If something is not to their liking, it can be changed immediately so nobody’s time is wasted. What is important is that the client is satisfied. Generally, once a good relationship has been established, there is little conflict as the clients trust her instincts and expertise. She is careful not to push in a direction they don’t want to go. She had one unfortunate experience 15 years ago when a contractor contacted her on behalf of a client who wanted something unique in his shower. The customer agreed to the plan even though it was not his usual style. He decided a year later he didn’t like the mosaic. There was nothing she could change at that point, and felt it was a beautiful piece. It just wasn’t his taste; it was the contractor’s idea and the customer never bought into it.

Compromise is often part of the process. Currently, she is melding together the two different visions of a couple. This will be her third installation in the home; the other two being a Monet themed kitchen backsplash and a floral themed large mirror and wall vases for their guest bathroom. She wants the new installation to be unique and interesting but there needs to continuity with the other rooms. The woman loves gardening and wants a floral arrangement. Her husband leans towards abstract art. Ultimately it will be some type of abstract flower arrangement so both parties feel like they have gotten what they wanted.

Laura Lyn welcomes challenges. No matter how difficult, she always tries to meet the client’s requirements. As she says, you never want to tell a client that you can’t do something. If she has never done it before, she figures out how to do it! It is a way for her to grow and add new skills.

The project seen in the accompanying pictures was challenging. It is a Rousseau inspired mural, a favorite artist of the client, installed on a terrace. The piece is truly personal. Again, gathering information was the first step. Laura Lyn asked questions such as “What elements do you like about the painting? “The client wanted very specific birds and plants, inclusion of a perfume bottle which is a symbol of the Minelle foundation where the client works, a face like ones on the front of her office building, and a replica of a sculpture on her terrace . Laura Lyn had intended to include a picture of the client, however, the client was uncomfortable with this part of the plan so it was replaced with something else. The client loves Isaiah Zagar’s mosaics and wanted the piece to in some way reflect her neighborhood art. To meet this request, Laura Lyn finished the edges with mirrored glass.

The most difficult part of this project was the installation on the terrace. The three wedi panels were made in studio and transported, finishing the grout on site. They needed to overlap, to connect onsite so the mural looked continuous. The mural was attached to a slotted fence. The spacing was critical because the panels had to interlock through the slats and align properly. The cut lines of the tiles needed to align with the slats and the three panels so there were lots of moving parts to consider! Thinset was used as for adhesive to attach tile. She mixed very little water into the grout so it was dense and almost clay like. It was perhaps the most complicated substrate she had worked on and special consideration was taken as it was an outdoor piece.

Often things that are the rewarding offer the most challenges. Laura Lyn loves the partnership with clients. The more input she gets from her clients, the more fun it is. The challenge is having all the pieces fit together in an aesthetic pleasing way that makes sense. There needs to be a balance between what client wants and likes and what will work. The client may not know what is technically or monetarily practical. The artist must know how to help the client understand viable options if their initial vision is not feasible. An appreciation of art is important, but Laura Lyn has found that sometimes it is harder to work with someone who has broader sense of art and is stuck on a specific idea. As long as she can create her own artwork with total control, she is content producing work that is more to a client’s taste than her own. Laura Lyn is hoping to retire from full time teaching in the near future. She is looking forward to refocusing attention on own art work and continuing to find a new market, working with interior designers on residential commissions.

Regardless of how and why we became mosaic artists we continue to produce because it fulfills our needs for self-expression and creativity. Challenges help us grow. Although our main goal may not be to sell our work or support ourselves financially, we all enjoy making others happy through our art. Praise and appreciation of our work is always encouraging. Being recognized for our accomplishments boosts our self – esteem. Knowing that our creation can bring enjoyment to someone’s life as it is looked at everyday in another home, makes us happy. Providing beauty and enriching lives through our art is a gift to hold in high regard.

Firefly Gallery

By Amy Fleck

With Covid-19 restrictions in place, many of us welcomed the arrival of warmer weather last spring. Outside activities allowed us to be a little less restricted while still being safe. Now that we are in the heart of cold weather, outside activities aren’t quite so fun anymore. The beach in the cold and wind and your winter coat, gloves and hat doesn’t have quite the same Zen-like relaxation vibe as it did in July.

So, what is one to do on a sunny but brisk day in January or February? Head to Firefly Gallery in Surf City, New Jersey and check out the building, which is covered in mosaics. Surf City is on Long Beach Island, about 1.5 hours from Center City.

The gallery itself sells jewelry, clothing and assorted cool stuff for your house, as well as artwork from local artists. The gallery’s owner, Joanne Dozor, herself a watercolor and mosaic artist has her work on display as well. For good measure, Dozor also gives classes at the gallery in watercolor and mosaic.

While there are always new and fun things in the gallery, it is truly the outside of the building that gets people’s attention. Even if you weren’t looking to shop, as you drive by, the sparkling building catches your attention. People are often seen stopping and taking pictures. No matter how many times you’ve seen it, each time you look you will invariably find some part you hadn’t seen before.

Because so much of the mosaic on the building is sparkly or shiny it’s often hard to take pictures that do it justice, hence my suggestion to go see it in person. It is really an impressive and encompassing display.

While doing some research on Dozor and the building, my interest was piqued by the connection to Philadelphia. Joanne is a “local” in that she is from Media, PA. More interestingly, however, is how she got her building covered in mosaics.

When Dozor bought the building in 2006, she commissioned Isaiah Zagar, the creator of the Magic Gardens in Philadelphia. Zagar was to conduct a one-day workshop where community members and local artists would help create and install murals on the building. It would be an exercise in creativity as well as an opportunity to learn mosaic techniques. Despite the many hands in the project, Zagar’s influence can be seen all over the building. You can see the influence of his travels and interest in folk art. There is even a nod to Picasso, which Dozor interpreted to be a Zagar self-portrait. There is also a large mermaid (something you will find frequently in her art) designed by Dozor.

After Zagar and his workshop participants finished, there was still plenty of blank space. In subsequent summers that has been filled in. What you see now is a façade almost entirely covered by mosaics. Dozor often uses materials she finds at vintage shops and garage sales.

I would best describe the Firefly Gallery façade as a mosaic made up of mosaics. Many different mosaic ideas, designs and materials all harmoniously connected to one another. Well worth the visit.