MUSE...A Colorful Collaboration

By Marcy Rosner

Ricki Lent and Robyn Miller make a great team. Together they designed and fabricated a beautiful 4’ by 6’ceramic and stained-glass mosaic that permanently hangs in Reform Congregation Keneseth Israel Elkins Park, PA. It was started in 2019 and 2 years later, in spite of the pandemic, was finally installed. This was the first time the two friends collaborated together on a commissioned piece.

As soon as I began my interview, I knew it was a match made in heaven. The rapport was relaxed as the conversation just flowed. Each took turns speaking; sometimes finishing each other’s sentences. They looked to each other for reassurance and to double check facts. Technical issues were handled by whomever could fix the problem at hand.

Ricki had designed and installed many large scale mosaic murals during her years working for Network Arts in Philadelphia. She was commissioned by Keneseth Israel ten years ago to create a mosaic which was installed at the entrance to the KI religious school. The mosaic was in honor of Rabbi Lance Sussman’s 10th anniversary at KI. Rabbi Sussman is devotee of the arts. He wanted a colorful and uplifting entrance to the school. Robyn, who lives across the street from the building, looking out her window one morning saw Ricki working on the mosaic. Having known each other before, she went over and volunteered to help. Their friendship continued.

Ricki and Robyn are both members of Keneseth Israel synagogue (KI) and well-known mosaic artists in the community. They were first approached about the exciting project during the summer of 2019. They were asked to create a mosaic for the lobby to be installed above the doors entering the Neumann Chapel.

Initially, they were told the theme was open ended. Their first sketch, with a Tree of Life theme, was rejected as another artist had already created a quilt with that theme. Subsequently, the donors, Evonne and Isaak Kruger, gave them a specific direction. The mosaic was to be titled “Seven Species of Israel “(Shivat Haminim). The elements are Grapes/ Pomegranates/ Olives/Figs/Dates/Wheat/Barley. The donors selected the seven species for this theme because of their family’s deep interest in sustainability and Israel. They wanted the art rooted in Torah and to reflect both Israel and their love of nature. To further their knowledge of the species, the artists began researching.

Separately, Ricki and Robyn came up with ideas for the design. Each drew sketches and were amazed at how similar in content and design they were. They melded the two sketches using Ricki’s drawing and adding many of Robyn’s elements. The final sketch was accepted in December 2019 with the understanding they could moderate and change as they went along.

By March 2020, they had completed the 4’x6’ black and white sketch using a grid method. They were ready to start. Then the pandemic hit and they were not all confident the project would happen. They did not think about it for 4 months. To their pleasant surprise, they received an email from KI in June that they were on. This became their “Pandemic Project”.

They began the actual piece in July 2020, one year after the initial contact. They worked separately, in their own studios, as well as together, masked. They were fortunate that the synagogue was empty so they were able to turn a vacant art room into an ideal studio.

They knew the piece would be too high to install themselves. They met with a synagogue member in August, who had professional experience and had worked on other KI projects. He suggested they use ½’ wedi board as a substrate. Initially, they thought they would have to make 3 separate panels. They were pleased when they realized it could be made on one large piece of wedi. By September they had transferred the line drawing onto the wedi using white carbon paper. The installer mounted it to ½’ plywood, added a frame and drilled 8 holes for bolting it to the panels above the doors.

During the Fall of 2020 the individual ceramic pieces were made. The tasks were divided: Ricki created all the vines, leaves, pomegranates, flowers and grapes. Robyn created the sheaves of wheat and barley, olives and figs. In their separate studios, they worked from traced drawings to create the ceramic relief tiles. They met at KI to discuss glaze colors. Numerous samples were made in Robyn’s kiln until they were both satisfied, leaving Ricki with an overabundance of grapes and flowers. The individual pieces were attached to the wedi. They were ready to assemble it on site.

The next step to complete the art work was the stained-glass background. The goal was to allow the fruits and flowers to stand out, making it a very dimensional piece. This was very time consuming, taking about 3 months. They shopped for the best colors, not wanting the background color to compete with the tiles. Ultimately, they used a lot of almond color and iridescent glass that would change with the lighting. Gold mirror was also included. They traced the shapes, making templates, then cut out each piece. They used grinders to fit each piece perfectly as well as a Taurus Ring Saw. Placement was essential as they paid particular attention to grout lines.

By June they were ready to grout. A neutral grey was used. They were able to lay it on a flat table, rather than vertically, which made the process much easier.

The finish line was nearing. Installation day was in August 2021. A dedication of the Seven Species of Israel Mosaic was held on September 26, 2021. Donors, artists, and synagogue members were all delighted with the finished mosaic!

So, what was it like for these two women to work together on such an important commission and what made it successful?

Similarities in their focus certainly made it easier. They both are sculptural ceramicists and colorists. They both really like color and organic form. They like each other’s work very much, although different from their own.

In their words, “mutual admiration society”, “and we are still friends!”. They consider themselves to be very lucky that there were really no conflicts. If they didn’t see something the same way, they discussed it, met in between, and compromised. There was lots of trial and error, but consensus was always reached. Critiques were accepted graciously. They came in with their own experiences, strengths and styles; an advantage for team work. They yielded to each other when appropriate.

I asked what they learned from or admired most about each other. Robyn appreciates the technical advice Ricki shared. Because she had more experience with large installations, her techniques often saved them a lot of time and energy. For example, grouting on a table flat surface rather than on the vertically on the wall, and enlarging the drawing using a grid. Robyn brought some helpful tools: two pairs of magnifying goggles and her covid treat to herself, a Taurus ring saw, which Ricki had never used. Ricki also really appreciates Robyn’s sense of color and vibrancy.

The final piece definitely represents both the artist’s styles. Both signatures appear at the bottom in permanent marker.

Robyn and Ricki gave a presentation on the “Seven Species of Israel” mosaic mural at the Mosaic Society of Philadelphia meeting on Sunday 1/23/22, delving deeper into their process and experiences.

"Unthwarted Creativity" by Amy Fleck

Jamee Nowell Smith knows how to get creative. As Director of the Chester Senior Center, Jamee has always been able to find a way to help her seniors stay connected and engaged. She wasn’t going to let a little problem like a worldwide pandemic stop her. Jamee knew she needed a way to keep her seniors connected to each and the community, even though the center had closed to in-person activities.

Chester Senior Center continued to run outdoor and virtual programs, including book clubs, exercise groups and bible study. Jamee asked herself “why not art?” That question was the jumping off point for what turned out to be an amazing collaborative effort between Jamee and Veronica Kairos and a wealth of the center’s seniors and MSoP volunteers. Basically, Jamee told Veronica “I got a wall” and from there they got started. It’s also worth noting that while all Jamee had was a wall, she knew she’d be able to get the supplies they needed to fill that wall. What materials were not covered by her activities budget, Jamee found a way to get donated. Apparently, this is one of her superpowers.

Veronica Kairos, who is the president of the Mosaic Society of Philadelphia (MSoP), was already connected with the center, having been running mosaic classes there for a couple of years. Jamee approached Veronica to figure out what mosaic project would be a community builder as well as one that could be done remotely until in-person activities became an option again. They needed to create a project whose components could be worked on independently by each participant but would come to together in a cohesive mosaic mural. These individual components needed to be simple enough that those participating didn’t need any special skills or tools, but also interesting and flexible enough that the participants would get a chance to show their creativity. To make things manageable to work on at home, the seniors would be creating flowers that did not need to be grouted, cutting out a messy and challenging step.

The next step was to figure out exactly what kind of mosaic they wanted to create on the center’s wall. They were inspired by mosaic of flowers in a flowerpot. It was very detailed and intricate, so Veronica simplified it for their purposes, and they came up with a color scheme. The mosaic would be composed of flowers created by the seniors from kits they took home, as well as larger, more detailed and grouted flowers that were going to be created by MSoP volunteers.

Veronica and Jamee then reached out to Dawn Mendelson to see how they might proceed in a way that would get the client involvement they were looking for. They wanted some tips on how to create self-contained kits they could send home as well as the best way to give the seniors directions they could easily follow. While Mendelson had used live video presentations in the past, Jamee did not feel this would work for her seniors. Instead, they were able to get Judy Styles to do a 5-minute instructional video that was posted to MSoP’s YouTube page.

After a month of planning and creating kits with all the needed supplies, it was time to get the word out and drum up interest and excitement. As usual, this was no problem for Jamee. Jamee and her Program Coordinator, Vicky Holmes, began their outreach, which included flyers, social media blasts and mailers. In came the volunteers who happily picked up their kits and were given due dates. Many participants so enjoyed the project, they came back to get another kit (or two or three) to work on. As vaccines became available and Covid-19 restrictions loosened a bit, some of the seniors were able to work on their flowers at Chester Senior Center, adding the extra bonus of some sorely missed socializing.

While the seniors worked on their pieces, MSoP volunteers also got to work. The guidelines to create these flowers were much looser since these were experienced mosaic artists with their own ideas and supplies. Veronica gave them an overview of the project and general parameters. The resulting 39 flowers blended seamlessly with the flowers the seniors created.

All told, almost 60 people participated, some making more than one flower, and created 100 flowers! The vision for what the finished project would look like wasn’t finalized until all the pieces were returned. Not knowing just how many of the kits would be completed and returned, Veronica wasn’t sure how big she needed to design the piece. She happily had to expand her original design to include all the flowers.

Veronica’s plan for the final mural, like the flowers created by the seniors, didn’t require grout. No grout made for a less labor-intensive installation and also lessened the need for too much working together in close quarters. When you look at the mural, the grout isn’t missed at all since you still get the same aesthetic that you expect when looking at a mosaic. This was accomplished by painting a black rectangle on the wall and installing the mosaic pieces onto the black background. The black background effectively acts as grout in that it brings all the pieces together into a cohesive unit just as grout would do.

Once installed, it was time for the big reveal. Once again, enter Jamee. Jamee decided that the unveiling should happen during Delco Arts Week, which was the first week of October. This gave one more way people could find out about the unveiling since the Delco Arts Week website and social media helped to promote the event. This on top of Chester Senior Center’s assorted communications. One of the things Jamee recalled about the day the mural was revealed was the excitement of her clients. Even though the mural had been in place for a few weeks before the official unveiling, Jamee covered it up so they could have a dramatic reveal. She said she really got a chuckle when the people who had worked on the project and had already seen it lined up oohing and aahhing taking pictures as if it was the first time they were seeing it. Jamee was happy to see that her “I got a wall” project was a success; the finished mural was beautiful, and her seniors were thrilled with the outcome and really enjoyed being part of a community project.

When I asked Jamie what she felt the seniors got out of working on a project like this she said that she believes there is value in partnership; that this is how we enrich each other lives and benefit the greater good.

Mosaic Art by Mosaic Society of Philadelphia Dedicated on VNA’s Hospice Unit Philadelphia

From a press release by Emily Coder of Visiting Nurse Association of Philadelphia

Approximately 2 years ago, MSoP members participated in creating individual mosaic elements to be combined into several mosaic panels. This effort was spearheaded by our own Robyn Miller. Unfortunately, circumstances conspired to keep these panels from being installed at their final location, the Hospice Unit of Visiting Nurse Association of Philadelphia (VNA Philadelphia). At long last, on September 22, 2021, was able to hold a dedication ceremony for the installation of panels. The ceremony was attended by MSOP representatives Robyn Miller and Alissa Blumenthal.

VNA Philadelphia dedicated the mosaic artwork on their inpatient hospice unit in honor of community patient, Aaron Blandon. “It is only appropriate that Aaron would be remembered through these spectacular pieces of Mosaic Art crafted by members of the Mosaic Society of Philadelphia,” said Chaplain Donna Geiger prior to the installation of mosaic art. The pieces that were hung in VNA’s inpatient unit are as beautifully intricate and colorful as was Blandon’s life. An artist and writer/director/producer whose credits included film, TV and theatre productions, Aaron was also a father, musician and educator. A retired teacher who taught and tutored English in the Philadelphia Public Systems, Aaron instructed video production and lectured on various video and film topics. A lover of the arts, Aaron spent a good part of his life working within this domain, including film, theatre, music, writing and photography. “It was his stories that helped our staff understand the power of art,” said Geiger.

Aaron Blandon’s friend and colleague, Robyn Miller of MSoP chose to dedicate the mosaic art to VNA Philadelphia because, “This and all art was such an important part of Aaron’s life. He lived nearby and spent his final days here; having a piece of him [at VNA] is so meaningful. He always would ask me if I’m having fun and the art that has been installed at VNA in his memory is just that - FUN.”

MSoP Board of Directors Retreat 2021!

The Board of Directors of the Mosaic Society of Philadelphia met on Saturday, June 26, 2021 at Chestnut Hill Presbyterian Church for their annual retreat. Last year’s retreat was held in multiple virtual sessions so all current board members were looking forward to meeting in person for the first time since the Spring of 2020. For a few of the newer board members, this was their very first time meeting the rest of the board in person.

The first order of business was to elect officers for a term of one year. The new officers are: President – Veronica Kairos, Recording Secretary – Judy Styles, Treasurer – Donna Mitchelson. The rest of the board, serving as Members-At-Large are: Alissa Blumenthal, Maureen Grossi, James Schlichting, Michele Sokoloff, and Lucinda Weller. Also in attendance, either in person or virtually, were Ilene Haas, Carol-Stirton Broad and Suzanne Daub.

Board members looked at our organization’s performance, mission statement and upcoming events, practiced team building skills and looked towards building a stronger future organization. Board members agreed to each oversee various functions within MSoP to help coordinate our functions and improve coordination within our organization. At the end of the day everyone agreed that MSoP has the potential for a vibrant future with potential for growth and increased opportunities for our members.

The board wishes the best to our board members stepping down after fulfilling their terms: Suzanne Daub, Ilene Hass, Jill Snyder and Carol Tinkelman. MSoP values your service and appreciates all that you brought to our organization while serving on the board.

"Aya Kinoshita and Her Herbal Meadow in Pennsylvania" by Marcy Rosner

As soon as Aya Kinoshita moved to Lancaster, Pennsylvania in 2020 she joined MSOP. Having met one of our members on an Italian trip, she was thrilled to become part of our organization. Aya shared with me her very interesting background, how she became interested in mosaics, and details on her latest installation.


Aya was born in Tokyo, Japan and has traveled the world. She has lived, worked and studied in many cities including Melbourne, Paris, Tunis, New York, Copenhagen, and most recently Los Angeles. After graduating from Waseda University, in Tokyo, with a BA in Social Sciences, she enjoyed working with international visual and performing artists. She received an MA in Anthropology from Hunter College, in New York, and continued her studies with Doctoral research at Waseda University in Art Museum Management. In both Tokyo and California, she incorporated art, culture, and language in her teaching while continuing art museum research globally.

Aya relocated to Southern California in 2015 to continue her research in art museum management at California State University. In 2016 she met her neighbor Katherine England, a renowned mosaic artist. Although she had worked in a variety of capacities in the art field, she had never actually made fine art herself. She began taking classes in Katherine’s studio and mosaics soon became her passion. I am amazed at her talent and the enormous body of work she has created and projects she has been involved in, in just five years.

Aya found the mosaic world in California “fresh and liberating”. Through Katherine, Aya became involved in many community projects and team murals. She began assisting her mentor and eventually taught her own classes. She volunteered and later worked at Piece by Piece, supporting lower income and former homeless people through mosaics.

Although Aya had not done a solo public art installation before, she applied to the call for artists from Penn State Health Hampden Medical Center publicized by SAMA. They were looking for multiple large murals to be made for various in spaces their new building, each having a different theme and size.

Aya sent her portfolio to the committee and once accepted was given her theme. She had applied for the 4 feet x 4 feet mural but instead was asked to do a 4 feet x 12 feet piece, which was a greater challenge. Her theme was Meadow, open to her own interpretation.

Aya began researching immediately. She had no knowledge of plants indigenous to the area, and wanted to focus on medicinal plants was for the medical center. She included bluebells and black eyed susans which are flowers grown locally. She wanted everything to have a symbolic meaning, many spiritual, and the overall mural to feel relaxing. For example, the Hummingbird presents lightness, responsiveness, and resilience. In Native American myth, it is a healer. The Butterfly in Christianity symbolizes rebirth. Interestingly, Monarch Butterfly in particular means that you are on the right path! Bees and ants represent teamwork which reminds us of our medical professionals.

The next step was to send drawings to the committee for approval. She submitted two designs in November. The committee liked her free form work they had seen and asked her to make the mural without a background. By December she was given an approval on the second design.

One of her biggest challenges was finding supplies as she was still unfamiliar with the area. Once again, she researched and was able to find what she needed. She needed to be very specific about size, weight and materials. The piece needed to be fire resistant and she worried it would be too heavy if she used the fire retardant MDF boards. She requested that the facility be responsibility for installation since they wanted it to hang directly on the walls.

Aya began work on three separate panels. She used ½” inch wedi board cutting each shape with a jigsaw. She finished the edges with fiber tape and covered the tape with thinset. She attached 45 washers to the pieces so they could be later screwed into the wall. The majority of the forms were stained glass. She also used some ceramic tile and millefiori. The bees and ants were fused in a kiln. Glass sheets were cut with hand tools, nippers and a scorer. She used Welbond to attach most of the tesserae; white thin set was used on slightly translucent glass such as the yellow flowers. She grouted most of the pieces in her studio but will have to add some after the installation.

At the time of the interview, Aya had not yet seen all the panels together. The installation was supposed to be in in May but has been postponed as the building is not finished. She had an open studio for neighbors to view the finished pieces before she delivers them. The pictures shown here are beautiful but I’m sure seeing it up close would be quite a treat. She is hoping that patients viewing the mural who may be facing medical challenges, it will be a source of pleasure, enjoyment, peacefulness, and hope.

"A Visit With James Schlichting" by Amy Fleck

When I spoke with James Schlichting, he referred to himself as a “jack of all trades.” He then

chuckled and added the well-known rest of the phrase, “master of none.” Hearing about James’ work

and seeing pictures, it is clear he not the “master of none.” James has always been an artist and

created in one form in another.

James went to Buffalo University and became an art teacher and then went on to get a B.F.A in

Sculpture & Painting. James taught for 10 years in the Philadelphia school system. Besides art, he

was also a vocational education teacher.

Sculptor, painter, Hollywood set carpenter, cabinet maker, mosaic artist…while seemingly disparate

art forms, they share the commonality of being ways in which James has worked with his hands to be

creative. His journey to become someone who designs and creates and collaborates on large-scale

community mosaic installations has not been a straight path. He has left his artistic mark in many

ways in many different places.

James started out in Los Angeles where he was a Hollywood set carpenter. This is where he started

making mosaic-topped tables, using Malibu tiles made by friends. From there he headed east towards

Pittsburgh when his former wife became a professor at Clarion University. There he created custom

mosaic tables which were available in many stores from Pittsburgh to Hudson. He also continued to

draw and paint. After 5 or 6 years James felt he needed to do something more lucrative and began his

career as a teacher.

While James no longer makes mosaic tables, he has, throughout the years, traded tables for large-

scale, often mixed media, mosaic murals. These murals showcase both James’ abilities and eye for

color and interesting objects and tiles as well as those of the community members with whom he

works. His mosaics can be found in Pennsylvania, New Jersey and Florida.

In Pennsylvania (Philadelphia specifically), there is a mosaic mural at Ben Franklin High School

created with volunteers. Another big project where he worked with many volunteers is in the

Fairmount Park area. Currently, he is working with community volunteers as well as other members

of MSoP at the Overbrook Environmental Center on a 60 ft x 12 ft mosaic mural.

A taste of James’ work can be found in South Beach in Florida. This project was created in

collaboration with his brother-in-law. They created it in New Jersey and then took it with them to

install on a balcony. It was a colorful and fun installation that fit perfectly into the picturesque

landscape of South Beach.

James currently lives in Collingswood, NJ, not too far from Camden. Camden is the home of one of

James’ biggest projects, a Four Seasons Mosaic Mural, which will be dedicated to the Heart of

Camden. This mural has both mosaic parts and painted parts and was originally started with help

from Father Doyle as a way to engage and include community members in beautifying the area. It is a

four-sided installation, each panel being 14 ft high by 20 ft wide. To date over 500 volunteers have

worked on this project which was started 10 years ago. With “Spring” being the only unfinished

portion, they are waiting on funding to finally get the project completed.

James, who is retired and has some disabilities, including no sight in his left eye, as a result of a

motorcycle accident says he is lucky to be alive. Loss of some of his vision has kept James from being

able to drive, but it has not kept him from continuing to work with the community to create mosaics

that everyone can enjoy.

"A Well Fed Artist"

By Amy Fleck

“Starving artist” is a term with which we are all familiar.  It brings to mind someone whose artistic endeavors are so a part of who they are that the material world doesn’t really matter – mere squalor and hunger cannot not dissuade them from their beloved pursuits.  While that is quite a romantic notion and would surely make for a good Netflix Original Series, most of us who have any kind of love of art or craft usually relegate our artistic activities to our free time.  By and large, we all like to eat, live inside and have running water and electricity.  As a result, art becomes an avocation while we work at paying jobs.

Jessica Liddell, owner of Bella Mosaic in the Mt. Airy section of Philadelphia, has found a way to maintain her creativity and use it to earn a living.  Since 1997 Jessica has been making mosaic art professionally.  The key it seems is to be creative about your creativity!  Jessica doesn’t just make mosaic art and hope someone buys it; she has put together a business where clients seek her out for projects and she in turn steers the projects in a direction that satisfy what the client wants but give Jessica the ability to be true to her artistic vision for both the specific project as well as her own aesthetic sense.

I asked Jessica how she found her way to a career in mosaics.  She had been, in her words, “obsessed with ceramics” since she was 16.  Unlike today, where tiles are what she makes, she made a lot of pottery.  Then, when she was 20, she took a break from school and went backpacking through Europe in hopes of figuring out what she wanted to do with her life since her original plan of being a teacher didn’t feel like it was going to be right for her.  Enter Barcelona, Spain and its mosaics.  Jessica has never looked back.

When Jessica returned to the United States she went to CCAC (California College of Art and Craft).  There she took a class with well-known mosaic artist, Donna Billick.  Besides learning about mosaics and tile making from Billick, Jessica also took to heart her advice to have something on the side to supplement your art.  In Billick’s case it was owning real estate.  While Jessica has dabbled in real estate, she has mostly been able to financially support herself (and eventually her family) with jobs that still allow her to be creative.

While being a full-time teacher wasn’t what Jessica decided on professionally, she has always taught.  She has essentially become artist-in-residence at many schools, sometimes staying there for a whole school year.  She works with the children to create mosaic works of art that are installed in the school.  Jessica believes it is powerful to be creative and that there is so much value in having the children work collaboratively.  Getting messy and manipulating materials is something special for many of these kids who are often more adept at computer and video game usage than working hands-on.  She feels the mosaic projects she does with kids helps to exposes them to something new and lets the shine and connect with the world in a different way then they are used to.  The finished projects give the children a sense of pride and community.

Besides teaching at schools, Jessica has also done corporate team building events.  While these are adults and not children, the end products still result in pride and community connection.  Jessica also believes the process of creating is beneficial in the corporate world.  While participating in these projects the hierarchy of the corporate world falls away.  People are working, communicating and learning together on level ground.

Jessica also runs classes/open studio time at Bella Mosaic.  These are much less structured forays into creating mosaics.  Originally, Jessica would run classes in 6-week intervals and then start over with a new group, but she found that her students really wanted more.  That is how her current studio sessions came to be.  People can do pay as you go drop-in classes at the studio; coming as often as they’d like.  While informal, students still benefit from Jessica’s expertise as well as from collaborating with other students.

But wait! There’s more!  In addition to all her teaching, Jessica creates her own mosaics.  While she is open to whatever type of project her clients want, Jessica is often sought after for her large installation pieces.  This type of work allows Jessica to tap into her creativity and love of tile making and mosaics.  With the clients’ desires in mind, Jessica steers the projects so that she is able to satisfy them but also remain personally excited for the project.  These installations give her the opportunity to try out or work on new techniques she’s interested in.  Over the years, via networking and word of mouth (not to mention her amazing work, which speaks for itself), Jessica has not had too much trouble finding people and companies to commission her work.

Jessica’s artistic ability as well as her business acumen have set her apart from many artists.  She has always found a way to turn passion into profit.  She has been able to do so without having to compromise her vision of what she wants to create – an impressive and unusual accomplishment.

If you are interested in getting to know Jessica better or learning about mosaics, be sure to check out the offerings at Bella Mosaic.

SAMA 2021 Goes Virtual

By Marcy Rosner

The First Virtual American Mosaic Summit took place February 5 – 7, 2021. The Society of American Mosaic Artists (SAMA) was forced to postpone their 2020 annual conference in Tucson due to the pandemic. Realizing a live conference was still not possible, the organization explored a new format. We are truly fortunate to be living in a time with such advanced technology.

After interviewing six of our members who have attended in the past as well this year, I feel that I have really missed out on unforgettable opportunity. I plan join and support the organization and hope to attend the conference next year regardless of the format. I am sharing some of their highlights including the differences this year, favorite events, as well as the advantages, disadvantages and challenges of live vs virtual programs.

The conference began Friday morning with opening remarks, announcements, conference hub tutorial and the virtual vendor marketplace introduction. Other events included workshops, presentations, the Mosaic Artists international exhibition, and the Art Salon Auction.

All interactive workshop sessions were on Friday, ranging from 4-8 hours. There was an additional fee for workshops and materials and preregistration was required. Materials and pertinent information were mailed ahead by the instructor. Five of the women interviewed for this article participated in one workshop; two as instructors and three as students. Their workshops were all different but they all had very positive experiences. They all agreed that the instructors were very well prepared and the sessions ran smoothly. All materials were pre-shipped and arrived on time.

Jessica Liddell taught Collaborative Mosaics: Facilitating Community Projects with Children and Adults. During the past four conferences Jessica presented during two sessions. This year, however, instructors were asked to teach only one. She chose the topic she thought would be more easily adapted to virtual platform. She expanded her lecture time, showing photographs of her many varied projects. Although the workshop was less interactive, participants did break into groups and rotated through four different hands-on activities. Her students made same indirect mosaic samples using materials from kits she prepared and shipped. The class ended with a question-and-answer period.

Carol Shelkin, who has been teaching at the summit since 2009, says she is honored to be invited as an art teacher to offer whatever is on SAMA's roster for the year. Her workshop for 2021 was Realism in Mosaic using Stained Glass. The nine-hour intermediate/advanced class was scheduled from 11:00am -8:00pm to accommodate different time zones, with an hour for dinner and several stretch breaks.

Over the past year, although challenging at first, Zoom has become Carol’s “best friend” so she was able to adapt well to the virtual summit. She also credits her IT person Rise Skobeloff with helping to make the day a success as she assisted students with computer and Zoom challenges.

As common in her Carol’s workshops, the goal was not to come away with a finished product, but rather to gain an understanding of professional artist techniques and process. Students provided their own supplies based on the detailed list they received after registration. They worked at their own pace while exploring traditional and non-traditional methods and were encouraged to develop their own unique mosaic style.

Alissa Blumenthal loved her all-levels hands-on workshop Riding the Magic Carpet taught by David Jarvinen. She found her 6-hour session very well organized and not too long. Students were asked to choose a color scheme and received an overabundance of coordinating materials. Alissa was one of the few students to finish her project and was able to learn some new techniques.

Suzanne Daub attended Diane Sonnenberg’s workshop From Concept to Completion: Exploring the Creative Process. She was inspired by the theme of creating her own voice and nurturing her artistic spirit. Her materials arrived two weeks ahead and included journals which she wrote in 10-15 minutes daily. As part of the pre-planning project, she created a Pinterest board and followed the writing prompts in the binder Diane prepared. She focused on what consistently appeals and speaks to her personally. She also received four pieces of 4”x4” substrates and a bag of materials. During the workshop participants created several pieces with strict constraints during a 30- 45-minute time period. The purpose was to overcome fears as barriers that prevent us from trusting our imaginations and working to our full creative potential while moving out of our comfort zones.

Carol Stirton-Broad attended the four-hour workshop taught by Kelly Knickerbocker Finishing School: Surface Transformations for Tesserae and Mortar. Judging from Carol’s enthusiasm MSOP is fortunate to be able to offer Working Abstract in Mud: Lecture & Demonstration with Kelley Knickerbocker virtually on Saturday March 27, 2021 Noon -2PM.

The hour-long presentation series included in the registration fee were on Saturday and Sunday with breaks in between to visit marketplace and socialize. Lectures were scheduled at different times so participants could attend all sessions. Presenter spoke of specific challenging mosaic projects. They could be later viewed on the SAMA website for two weeks and those who did not register for the summit were able to access them for a fee.

Carol Shelkin marveled at the variety of the presentations that were offered, as they were different than she expected and all inspiring. She remarked “the insights and offerings were outstanding from methods, historic achievements, community involvement and art from ashes. “ She also enjoyed the Q &A's.

A favorite of several members was The Great Train. Stevo Sadvary was commissioned by Rachel Sager, the owner of The Ruins Project. The mural is perhaps the world’s largest mosaic train, covering 6 feet high by 66 feet long wall. The project site of the mosaic mural is an abandoned coal mine. It sits along the Youghiogheny River and the Great Allegheny Passage (GAP) in Pennsylvania, a former railroad line that was reclaimed and is now a popular bike trail.

The mural is a steam locomotive, tender car, coal car, and caboose, replicating the train one that carrying coal many years ago. It pays homage to the mining, the steel and the railroad industries, and to all the workers that built America into what it is today. The mural is made mostly from stained glass produced locally. Small pieces of coal from the site and metal objects from the past, some rusted, were also used. Built into the mural with small cut tiles of stained glass are the names of the artist’s father and grandfather. Both men were killed as the result of mining accidents and the mural is dedicated to these men.

Another highlighted presentation by several MSOP members was “From Hand to Hearth: The Untold Story of American Mosaic Fireplaces” with Ted Ellison. Ted is an artist who makes original mosaic and leaded glass for new construction and fine homes. He has researched the works of architects Louis Sullivan and Frank Lloyd Wright and shared their collaborative installations through an inspirational illustrated presentation.

Suzanne Daub also enjoyed Margaret, Esther, and Helen Bruton: Mosaic Mavericks, 1934-1963. Wendy Good celebrates the accomplishments of the Bruton sisters during her presentation. The three sisters were innovative and prolific artists in California and played a pivotal role in the modern mosaic revival of the 1930s.  Wendy included biographical information as well as images of their mosaic works in her power point in hopes of inspiring and educating attendees by making them aware of these accomplished and groundbreaking women mosaicists.

Alissa also enjoyed Katherine England’s Not a Trained Artist but I Play One on TV – Journey from Casual Tourist to Professional Installer. She found her inspiring as she discussed trusting oneself and embracing opportunity and challenges. She shared her personal journey detailing her architectural installation.

Mosaic Art International (MAI), the annual juried exhibition, is highly competitive and includes works from well-regarded artists representing a variety of mosaic techniques and materials. This year 54 works were chosen, including 44 fine art and 10 architectural and cite specific. Seven awards were given, five in Fine art and two in Architectural and Site Specific. There was a virtual slide show Sunday during the conference, and the winners were announced then. It can currently be viewed on the SAMA website (https://mosaicartsinternational.americanmosaics.org)

This year MSOP member Anabella Wewer was one of the two jurors and she graciously shared her experiences and the judging process with me. This was the seventh conference Anabella attended; her first as a juror. In the past she has moderated workshops and translated for instructors who are not fluent in English. She believes that her extensive training and professional resume is what prompted the Board of Trustees to invite her to the jury. The second judge, Julia Lang-Shapiro, is a school administrator. Typically, there are three judges, mixing artists with other professionals to bring several perspectives to the table.

The virtual platform allowed more pieces of work to be accepted than in the past. Typically, the gallery set up and wall space are limiting factors, while this year the main limitation was how many pieces could be printed in the catalog. Anabella acknowledged the difficulty of photographing mosaics, but emphasized the importance of submitting high quality photographs to any jurying process. Images are the only way jurors can evaluate the work, so it is important they are the best they can be. Anabella suggests hiring a professional to shoot the work, as a photographer will have the lights to cut down on glare and bring out detail in mosaic work. Every year, many candidates for MAI are disqualified on the basis of the photos alone. It is impossible for jurors to see detail if images are blurry or low resolution.

The judges viewed the artwork blindly, without artist identification. They were given criteria and instructed to view each piece as a fine art mosaic. Each juror can bring their own criteria to the process as well. For Anabella, fine art mosaic meant that the work has to present the qualities of fine art, such as good craftsmanship, use of technique, and good design principles. For her whether or not one “liked” the piece was not a deciding factor, except when awarding her Juror's Choice award.

Part of the goal was also to show a variety of styles, applications and medium. They began with 247 images. After consideration, each of the women narrowed the choices down by dividing the number in half. This was done several times until they got to the point where they discussed each piece. Coming from different backgrounds and perspectives, Anabella and Julia had different definitions of what constitutes a mosaic and what are the most important elements. Some of the pieces were in both lists; some were not. Through conversation, they influenced each other’s opinions, compromised, and eventually decisions were made; not an easy task. They were each able to choose their own recipient of the juror’s choice award.

SAMA tries to choose different judges every year, understanding that everyone brings to the table different backgrounds and perspectives. The judging process can be stressful and difficult. Although the pieces are viewed blindly, some of the works are completely recognizable, so, the challenge then was to only use what was in front of them to judge the work, and not their prior knowledge of the piece. One must be sure to view all works objectively. For Anabella, is has been a learning experiences; one she enjoyed and appreciates.

As always, the Art Salon was included in the registration fee. Unlike the MAI, the salon is not juried. It is all inclusive and all attendees can show their work and has this option to include it in the silent auction. Attendees are able to purchase smaller, more affordable pieces and had over 100 works to choose from.

Naturally, the format was different this year. Everyone was in the same room at the same time. Photographs of each piece, a description and alternate view appeared where bidding took place. Unfortunately, there were technical glitches that caused the bidding and sale prices to be shortened but there were still purchases. Alyssa was very excited that she won the bid for Carol Stirton -Broad’s Memory Ware Mosaic Jug. Carol wasn’t as fortunate and was disappointed when she was out bid on the three pieces she wanted.

An integral part of the of the conference that could not be adapted and was missed by our members was t missed was the Mosaic marathon room. In this room, participants come together to create a large-scale mosaic. Attendees are able to work on a section of the piece in their free time. The result is a lasting piece of art that is donated to a local charity or needy establishment in our host conference city. This is usually a social, creative, and productive time.

Jessica Liddell became more involved with the conference after volunteering on the project in 2015 when Philadelphia was the host city. Many MSOP members were instrumental in making it a huge success. The benefactor was the Robert Morris Elementary School in North Philadelphia; the piece is set in the school lobby and is meant to add to the environment.

Networking and socializing are always a big part of a conference. People who travel consistently look forward to seeing others they don’t get to see during the year. In fact, MSOP began at the SAMA summit when a group of artists decided that it would be nice to get together with other more than once a year for local support. Although there were no kisses and hugs, participants were able to chat and socialize with others. Carol Stirton-Broad sat “next to” a friend and they were able to comment during the presentations on their private devices.

There are advantages to a virtual event. People with mobility, financial issues, or travel issues are able to participate. Several of our members had only attended the conference when it was in Philadelphia several years ago, but really enjoyed it this year. The change in schedule allowed those who instructed or moderated were able to view call the presentations, something they were able to do before.

Carol Shelkin thought it was brilliant that the organizers taped the presenters to have access for two weeks following. She was thrilled to be able to watch a couple presenters during the following week that she would have missed for an appointment.

Suzanne enjoyed being in her own home. Watching presentations in a favorite chair is more comfortable than a dark conference room. One can get up and move without disturbing others.

The six women I interviewed unanimously agreed that this year’s summit, with all its challenges, was a great success. The volunteers, presenters, and instructors all did an outstanding job. They all plan to attend again. I know I am hoping that by next spring we will be back to some type of “normal lives” and attending live events. However, the virtual platform has enabled us to reach to more people across the globe.

When I asked the woman why they attended the conference, there were common threads. SAMA is an important organization and this is a way to support the community as it is their major fundraiser. Sometimes, being an artist is a solitary job. It’s a wonderful opportunity to be with old friends and new, in a nurturing, creative environment where we can learn and grow together.