As published in: Glass Patterns Quarterly, Spring 2006
by Gina Hubler
There is no time when patterns are more important than when creating large wall installations! “Organic Dance” was commissioned for a private residence in Little Silver, New Jersey. After meeting with the client, and gaining inspiration for the colours and content of the mosaic, I went to work on creating a to-scale cartoon of the proposed installation. Then came our next meeting, where I proposed the design, and palette. Back to the drawing board with a few changes, my original figures where a bit too graphic, my client suggested something more androgynous, and we agreed upon the design for this spectacular bathroom’s wall.
I first worked in this home ten years ago, over the years I have done two other wall installations, and a dining room table for this client. It is really nice to have clientele like this, building a working relationship, and creative respect which allows both the client and the artist to push the envelope, and create something better than either could alone.
The next step was to make a paper pattern on site, fitting the wall and taking into account all of the different angles, and heights which were part of this wallscape. This is one of the most important steps of the process, it is the basis for all the setting to come. It also allows you to see the scope of the design when drawn at full scale. Sometimes, a twelve foot figure, is just too imposing! After the full scale pattening was finished it was carefully folded and shipped to my Atelier in Miami, for the actual setting of the mosaic to start. I decided to set this installation indirectly, using Mosaic Mount so it had to be set in reverse. In order to do this I redrew the design on the back side of the paper, tracing the lines from the front which had been rendered in black marker. The pattern was marked with colours and shapes of glass to be set. We went to work cutting glass in the proper shapes in my studio. The pattern was layed out, and setting commenced. After each section was set, another layer of adhesive paper was placed on the top, so that it was encased between two plastic sheets for safe shipping. The mosaic was cut into pieces roughly four square feet, for ease of shipping and installation.
The set glass mosaic was shipped to New Jersey for installation, I chose to use white premixed thinset as the adhesive, and we started setting in the top corners as they were the most difficult to reach, in case adjustments were necessary for fitting. The adhesive was peeled from the back of each section, and then the thinset was applied to the wall in the are which it was to be set. Carefully it was set into the thinset, smoothing carefully so that there would be no airbubbles. I had two installers and myself working on this installation, we set the wall in one long day, the second day was for peeling the top layer of mosaic mount from the mosaic, grouting and cleaning. I chose a black cherry grout, for a rich finish to the setting, it will also blend with the burgundy which the clients intend to paint the surrounding walls.
