Using a variety of sheet glass, glass and porcelain tile, and fused glass, I employ the “Double Indirect Method” I learned at Seattle Mosaic Arts. I design my template through a series of drawings, converted to water color, then printed into actual size, both in and black and white and color. The black and white template is laid under a piece of contact paper, sticky side up. The mosaic glass is then hand cut and laid onto the contact paper, allowing me to rework any piece, until all pieces of the mosaic are laid out just as I want them. I am now viewing the mosaic just as I would as a finished piece, minus the cement and grout. I then lay a heavy material called tile tape over the entire mosaic, holding each front facing piece well in place.
At this point, the “substrate” is prepared. This may be, in the case of a backsplash, a water proof board called wedi board, that is cut to size. In the case of a table, it may be a piece of glass, prepared with a bonding substance. Thin set cement is then spread onto the substrate, and the contact paper backing is removed from the mosaic, and laid into place. When the thin set is dry, the tile tape is removed, the excess cement scraped away, and the piece is grouted. The grouting, to me, is truly the transformative time of the mosaic, where it comes to life and finally speaks.
I love creating warm, inviting spaces indoors, that reflect the grace and soothing beauty of Nature. I am especially fond of transforming a functional piece, such as a backsplash, into a functional piece of art. Whether it be a table, a light fixture, a wall decoration, or backsplash, I see potential for bringing a bit of Nature’s wonders of color, movement, and play, indoors.