Sometimes mosaic-making is mistakenly viewed as a "kindergarten" form of art. However, the process of making a mosaic panel requires creativity, time, patience and a certain amount of flexibility. Each stage is demanding in its own right and often presents very unique challenges. To view my mosaic panels, follow the links at the left or go to "Fine Art Mosaics" , "Functional Mosaics" and "News: From This Green Earth"

The Process of Making Mosaic Art

1. Working With an Idea
   Sometimes I feel inspired by a subject that may not at first seem well-suited to the mosaic medium. In such cases, I let the idea “simmer” a bit, and may make a few rough sketches. I may even go on a photo shoot to collect reference materials. If I finally decide the idea is right for mosaic-making, I move on to the next stage.

2. Design and Planning
   I draw up the design, check the compositional elements, decide on a colour scheme and texture, and I source my materials. I select the materials I will be using (e.g., stained glass, ceramics, mirror, stones, etc.) and lay them out much as a painter creates a pallete of different coloured paints. I also have to decide what style will best suit my theme, what the mood of the piece will be, and how to combine my design and materials in a way that that will achieve my goal.

3. Selection and Preparation of Substrate
   The right type of substrate must be used, and one important factor in deciding this is where the mosaic will be located once it is completed. An indoor wall panel will require a different substrate than an outdoor panel, for example. The substrate also needs to be primed properly and usually requires supports and/or framing to make it more durable. I then transfer my design to the substrate either by tracing, using a projector, or drawing it directly onto the board. The right type of adhesive needs to be selected, and the final location of the artwork helps to determine what type of adhesive is used. This may require a testing stage as well.

4. Cutting and Nipping
   I do not use bandsaws, grinders or any other type of machinery. Each piece of glass, ceramics and mirror is handcut and – in most cases - glued directly onto the substrate, keeping a gap between each piece. The patterns that the gaps make are an integral part of the design. There is very little time to make corrections: once the glue is set, the glass, ceramics and other objects are almost impossible to remove. Stained glass has many exciting variations in tone and density, so I spend a lot of time looking at each sheet of glass to find the right area to use for each part of my panel. The glass can sometimes resist certain cuts or may break in unexpected ways; however, I often use such pieces in my work because they create natural and spontaneous movement and flow within my art.

5. Sanding and Repairing
   Every sharp edge of the panel must be laboriously hand-sanded and smoothed . At this time, I find out which edge pieces are loose and I have a chance to re-attach them to the substrate before the grouting stage.

6. Grouting and Polishing
   I often allow my panel to rest for a week or two. During that time, I have a chance to look at the panel with fresh eyes: this is important when it comes to deciding what colour of grout to use. I envision which elements of the design should recede and which elements I want to accent. Hue, tone and intensity of colour are important elements in making a mosaic easily readable. I mix pigments and water into the dry grout mixture until the colour and consistency is just right. The grout is then smeared over the picture and spread with a rubber squeegee to fill the cracks. When the grout is set, I wipe off the grout residue and polish the mosaic.

7. Finally!
   The back of the panel must also be finished to prevent warping and moisture damage. I prime and paint the back of each panel, attach felt corners and hangers, and sign my work. The artwork is now ready to hang.