You’re originally from Australia and you’ve traveled a lot around Europe and the Middle East. How have your experiences in different parts of the world influenced you? Did your travels play a role in you becoming a mosaic artist?
The textiles of Europe were another big influence. I am drawn to textures wherever I am – and it’s all around us… rusting metals, patterns of dirt and grime on a truck, plastic wrapping materials, old paint peeling, bark, ripples on water… I journeyed through many arts/crafts before finally discovering mosaic about 10 years ago, but all of those influences are part of the place I have come to.
My favorite piece of yours is this amazing four-paneled mosaic wall you’ve built on the property beside your studio, which you describe as your mission statement. It embodies your enthusiasm for making mosaics using natural and salvaged materials, and it represents many of the themes and values central to your art including man’s journey through the ages and his relationship with nature. What was the most important you learned while making it? Does the wall provoke any reaction from passers-by who see it from the road?
The materials were important to me. They symbolised the waste in our world. I wanted to use materials which were just lying around, having been discarded, to make this statement. Much of the ‘process’ for me was the gathering of the materials, cleaning them, sorting and storing them before coming up with the design.
I’ve learned such a lot doing this large project: the biggest is – dream big, think about it, research it, keep the passion, work at it … you can make it happen. The thinking/dreaming/planning process for this wall took far longer than it actually took to build and mosaic! The building and mosaic work took 2 summers. Other things I learned were: you don’t have to do it alone. Surround yourself with enthusiastic supporters – get friends involved, run a class around it, throw a bar-b-que in with it and people will come to help. Another thing: research materials and construction methods well before you take on something this big – and build beyond specifications, especially in Canada where nature takes its toll on everything. Build to last.
We get a lot of reaction from people passing by on the highway – strangers come up the drive and ask to see it. Often when I meet people and tell them where I live they say “you mean the place with the big wall?” It’s gratifying that people notice and even more gratifying that people understand why I did it.
I love your philosophy of creating art from materials that would otherwise end up in a landfill. You use salvaged construction materials and discarded objects in your mosaics, as well as natural stone. Do you have any good scavenging stories?
I have salvaged stuff all my life and yes, I have many great stories. It’s the materials I find that fire my work. I always begin with materials, rather than the idea or design. My work is all about the process – the thrill of the find, the endless hours of thinking about how to combine my treasures with other materials, and the final production. All of this process is as important as the final result.
Working in construction, I have come across some wonderful dumpster materials – aluminum, ceramics, wood, rusty nails, copper and other metals. Once you take away from your mind the expected use of these materials you can see them purely as textures to be played with.
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