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Mosaic is an artform in which shapes or patterns are arranged on a surface, be it two- or three-dimensional, by applying tiny bits of material — often shards of colored glass or bits of ceramic.
For much of the early history of the medium, the subject matter was steeped in Greco-Roman mythology, Catholicism, and other belief systems. In the United States of the 19th century, mosaic art was utilized as a tool of civic pride, such as at the Museum of Natural History station of the New York City subway system (and numerous other train platforms throughout the five boroughs).
Practitioners of mosaic art included those best known as sculptors, painters and architects such as Michelangelo, Raphael, Antoni Gaudi, Gustav Klimt and Marc Chagall.
For those who are curious about the current condition of the craft, there is “New Voices in American Mosaics: The New England Mosaic Society 2024 All Member Exhibition.”
NEMS was founded by 10 women artists in 2015 to promote modern mosaics as fine art.
At present, the organization has more than 60 members, with roughly two-thirds from Massachusetts, a few from every other New England state with the exception of Vermont, and one each from Pennsylvania and Virginia, clearly expanding beyond their original scope.
The exhibition is without a cohesive subject matter other than the promotion of the medium of mosaic art itself, and frankly, that is motif enough. It is a handsome show that displays a wide gamut of styles and thematic elements. It ranges from the decorative to the contemplative and it swings from the readily frivolous to the deadly serious.
It’s a smorgasbord of ideas and approaches and against all odds, it works.
Throughout the gallery, there are a number of mosaics that tap pop culture either obliquely or directly. In the less direct camp is Kris Samuelson’s “Octopus’s Garden,” which incorporates sand, mollusk shells and bits of green sea glass. There are no tentacled creatures to be seen and the artist notes that “it’s impossible to know how many octopi are hiding in the garden.”
The Beatles are not referenced at all, but c’mon … you know that earworm popped into your mind as soon as you read the title.
Lisa Tsiopras’ “Heart of Glass” is a portrait of Deborah Harry, the lead singer of the punk/new wave band Blondie. The title of the portrait refers to the band’s 1979 hit. The art is stained glass and glass beads under a pane of glass to protect anyone from touching the curved shards of glass protruding from the surface of Harry’s hair.
Self-proclaimed Parrothead Billie Klegraefe’s “somebody” is a tribute to Jimmy Buffett, who died on Sept. 1, 2023. Made with mosaic elements, metal embossing, collage and sewing on a guitar, it is her own unique way of honoring her favorite musician.
“Psycho” by Michael Ferreira is a mosaic comic book version of a film still from the 1960 Hitchcock masterpiece that almost leaps off the wall. Janet Leigh’s Marion Crane is in mid-scream as thin diagonal rectangles of blue, indigo, gray and black work as a pop art substitute for the water that erupts from the showerhead.
Moving away from pop culture and toward some rather deep introspection is “Self-Portrait: Brianstorm” by Karen Stark. Stylistically reminiscent of ancient Hellenistic Greek mosaics, she ruminates on “the joy and frustration of being a woman gifted at mathematics.”
In an artist statement, she continues to explain an intriguing element in the work: “The golden tresses present fragments of their equations, deliberately partially hidden and requiring effort to observe.”
Stark goes on to note the influential contributions of the Roman Empire era astronomer and mathematician Hypatia; the woman who created the first computer program, Ada Lovelace; and NASA mathematicians Mary Jackson and Katherine Johnson, who invented orbital mechanics. It’s all heady, heavy stuff and a fascinating work of art.
Landscapes and waterscapes are well represented. They include Jean Cummiskey’s beguiling “Rue Saint-Sulpice, Paris,” a mosaic rendering of an ink drawing done over 40 years ago as the sun was setting over the City of Lights, and Linda Antonucci’s “Tall Ships Visit Boston,” a sweet love letter of reflection, light and color.
“Text Me” by Sandra K. Basile is a clever visual joke that comments on the ephemeralness of cell phone text messages versus the seeming foreverness of mosaic art. She revels in the notion that stone and glass are being utilized to display an image of a liquid crystal display of an electronic message.
Another example of artists using ancient techniques to speak about modern technology is Elizabeth Martinez’s “User Error,” defined by the Urban Dictionary as “1) a source of common computer problems, 2) an issue caused by the user and not the computer they are using, or 3) when someone screws up.” Martinez utilizes iPad keyboard parts, stained glass, unglazed tiles, electrical wires and other components to make her point.
There are a number of works that delve into political and/or social concerns.
Linda Cundiff’s “Guns Across America” was inspired by the plague of mass shootings in the United States, culminating in the racist Buffalo and Uvalde massacres in the summer of 2022. The 4th of July Highland Park, Chicago, sniper-style shooting was the inspiration for a mosaic image of a waving American flag.
Beyond Italian smalti, porcelain plates and glass, the decidedly not glorious Ol’ Glory is embedded with painted miniature metal guns, brass shell casings and bullets.
In her artist statement, Cundiff notes that the work “is meant to be descriptive, not political.” But the reality is that in the current divisive environment, even an honest description will be interpreted by some as a political attack.
Speaking broadly, artists generally do not fear treading into controversy. Cynthia Fisher’s “WORLD WITHOUT US” is a vertical triptych that addresses the effects of the petrochemical legacy that have accelerated climate change. Suska Mastik’s complex dimensional work “Whose Choice Is It?” questions the Supreme Court’s overturning of Roe v. Wade.
With nothing but kudos to Cundiff, Fisher and Mastik for their bold work and bravery, I’ll end this review with some thoughts on some fun and lighter pieces.
Leontine Morris’ “Little Earnest” is a bewildering three-dimensional sculpture on a pedestal. It is an amalgamation of a functioning battery powered clock, stained glass, mosaic tile and the head and arms of a Black baby boy doll. It does not seem to be a commentary on the passage of time or on race or art history. It is perfectly weird and weirdly perfect.
Emily Bhargava’s “Kintsugi” is an abstract work, featuring a band of black and gold mosaic elements seemingly draped around a large bolt in front of a pastel lavender background. The title — which means “golden joinery” — refers to the Japanese art of repairing broken pottery by filling the cracks with urushi lacquer infused with gold powder.
Bhargava notes “that which is broken and then repaired holds a special place and unusual strength.” That is a lovely sentiment, applicable not only to objects but to the human body, to relationships, and to community.
The art of the mosaic is essentially a gathering of separate and distinct elements reconfigured in such a manner as to deliver an aesthetic statement.
Much the same can be said of the artists assembled for this significant and thought-provoking show.
“New Voices in American Mosaics: The New England Mosaic Society 2024 All Member Exhibition” is on display at the Narrows Center for the Arts, 16 Anawan Street, Fall River until Dec. 14.
Don Wilkinson has been writing art reviews, artist profiles and cultural commentary on the South Coast for over a decade. He has been published in local newspapers and regional art magazines. He is a graduate of the Swain School of Design and the CVPA at UMass Dartmouth. Email him at dwilkinson@newbedfordlight.org.
