South Light Studio

In this glass mosaic, the dynamic image of the dove invites more active participation with the spirit. Generated lines in the blue field present the winds of Pentecost. In addition to the reflected light on the wings, both opaque and translucent tesserae are used to articulate the flames.

This work was designed and constructed with the intent of an exterior installation where the fish can swim in the landscape. The implied movement is integral to the concept of this work. Fused glass created subtle tones and slumping facilitated adherence to the sculpted substrate. The andamento technique was used to show visual flow and direction.

38” long x 18” wide x 40” high (with posts) and 17” high without posts.

The shadow of the cat implies imagery beyond the picture plane. There is a story in the Roman andamento technique that indicates the movement of the lizard’s tail by curved lines breaking the pattern of the background tesserae. These movement lines, almost cartoonish, were often utilized in Roman mosaics in North Africa. The historic reference is the springboard for the unusual view that the actual action is not shown.

This small mini mosaic is intended as a contemplative image (Visio Divina). A descending visual form represents “I am the Vine; You Are the Branches”. The theme is reiterated in the background with secondary visual information of star crosses that interrupt the blue field.

This mosaic of St. Mary echoes elements of Byzantine mosaics. Glass tesserae are set at different angles to reflect light creating a surface that sparkles. The background radiates with accents of rose-colored mirror glass and pieces painted with 22k gold. The small size of the mini-mosaic tesserae enables the artwork to have more articulation.

The Tending the Hive mosaic utilizes what we see and how we see. The direction of light in the image, with cast shadows and reflections, is augmented by the principles of harmony and contrast of colors. This work contains both reflective and refracted light in the various densities of the tesserae. Colored grout is zoned to coordinate with each color field.

Matthew is looking up at the source of light depicted with mother-of-pearl tesserae. The dropping of gold coins is the moment he makes the decision to answer the call, “come follow me “. The gold coins are a kiln-formed element using fused gold leaf.

The English word dragon comes from the ancient Greek word, drakon which is based on the verb dérkomai “to see clearly” and literally means “one who stares”. Although we are culturally committed to reason and analytics today, we still need our fear of monsters to encompass “the other”, the unknown, and to be alert to unprocessed ideas and situations.

When hung together, the eyes imply a hidden beast and therefore, the image presents more space than it occupies. A liquid impression from the glass tesserae in the eyes contrasts with the rough, sharp, textures of the stones.