MICRO MOSAICS TO MACRO MOSAICS - issinstitute.org.au · Parc Guëll was the prime influencefor artist Niki de Saint Phalle who envisioned and created her own mosaic sculpture garden,

From wearable adornment to environments of interaction

An International Specialised Skills Institute Fellowship.

LAILA COSTA Sponsored by the Italian Australian Foundation

© Copyright May 2019

MICRO MOSAICS TO MACRO MOSAICS:

Table of ConTenTsMICRo MosaICs To MaCRo MosaICs

i. executive summary 3

1. about the fellow 6

2. aims of the fellowship 7

3. The australian Context 8

4. skills enhancement and Knowledge acquisition areas 11

5. The International experience 14

6. Considerations and Recommendations 40

7. acknowledgments 43

8. Abbreviations, Acronyms and Definitions. 45

9. Reference list 47

Table of Contents

I. exeCuTIve suMMaRyMICRo MosaICs To MaCRo MosaICs

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i. Executive Summary

1 ArtsVictoria.2014:TheArtsRippleEffect:ValuingtheArtsinCommunities,ArtsVictoria,TheAustraliaCouncilfortheArtsandCastanet

This reportdetails the research intomicromosaicsand large-scaleartprojectsundertakenbytheFellow(LailaCosta)duringAprilandMayof2017.ThepotentialforthesetwoartspracticestointersectandthepossibilityoftheirmergingwasofgreatinteresttotheFellow.Discoveringwaystoincludethecommunityinthisprocess provided the underpinningmotivation for the bulk of this research. Inaddition,theFellowwasconfidentthatthisresearchwouldenhanceherpersonalpracticeandfurtherdevelopherskillsandknowledgeasanartseducator,curatorandcommunityartsworker.

“The arts have the potential to bridge ourworlds, harness thewisdom of ourdifferent views, engage our imagination to explore new ways of thinking, andcreateexperiencesthatcanbesharedbyallpeopleinourcommunity.”1

Venice and Ravenna, Italy, are both citieswhere traditionalmicromosaics arecreated, materials are readily available and there is a culture of appreciationtowardthehistoricalandcontemporarycontextofmosaics.Mosaicshavebeenapartofthefabricofthesecities,itsbuildingsandpublicartsincetheByzantineera(circa1453).TheFellowundertookaone-weekintensivecoursesatMosaicArtSchoolinRavennaandanotherinOrsoni,Venice.Theresheproducedtwopiecesof jewellery andone framedminiature.Whilstmicromosaic is understood andvaluedintheseItaliancities,salesarelimitedanddemandminimal.InAustralia,themarketisvirtuallynon-existentandthecostofmaterialsandlabourmakeitanextremelynicheindustry.

The Fellow’s research into micro mosaics included visiting large-scale macromosaicprojects includingParcGüell andAntoniGaudí’sbuilding inBarcelona.ParcGuëllwastheprimeinfluenceforartistNikideSaintPhallewhoenvisioned

andcreatedherownmosaicsculpturegarden,IllGiardinodeiTarocchiinTuscanywhich the Fellow also visited. In contrast to ParcGüell, de Saint Phalle’s self-funded,mosaicgardenallowedforamorepersonalandself-exploratorycreationinvolvingthesymbolsonTarotcards.

Whilst these courses and projectsmade up the bulk of the Fellow’s research,visitstomuseums,exhibitionsandotherincidentalcommunityinitiativesprovidedadditional research opportunities and knowledge for contemplation. Theseincluded:

» Museums-MuseumofArts’mosaiccollection,Ravenna.

EttoreGuatelliMuseum,OzzanoTaro,Parma.

SagradaFamilia,CasaMila(LaPedrera)(1906-12),whichincludedtheFedericAmat-Zeptropeexhibition,andCasaBatlló(1904-6),Barcelona.

FedericMarèsMuseum,Barcelona.

MuseumofJewellery,Vicenza,includingtheSigilliexhibition.

» Exhibitions – The Venice Biennale. Various including Ettore Sottsass’ GlassWorksandtheArsenale.

VetrinedelleDolomittiFriulane:Patrimoniodell’UNESCO,Pordenone.

Parma360festivalofcontemporarycreativityincludingLacittádelleDonne,inthestreetsofthecitycentre,Parma.


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» Workshopvisit-S.U.VBeadWorkshop,Venice.

» Communityartprojects-ParcodellaPace,Ravenna.

IFioridiRavenna:RavennaCittáAmicadelleDonne.

MeetingwithCarolinaZanelliofIlFiloproject,Pordenone.

» Private self-fundedprojects: LaCavaDipintaeLaCavaAbitata,Rubbio,byMaestroToniZarpellon.Personalmeetingonsite.

TheseinvaluableexperiencesallowedtheFellowtogainadeeperinsightintoanEuropean centred, Italian specific cultural viewpoint. The Fellow aims to sharethebenefitsandnetworksgainedfromherresearchwithstudentsandthewiderartisticcommunity.TheFellowhasbeguntopassonhernewknowledgethroughmicromosaicdemonstrationssuchastheonesheheldduringhersoloexhibitioninNorthSydneyduringJulyof2017.

ItisenvisagedthattheFellowshipwillinformherworkasacommunityartsworkerwhere ideas for larger scale collaborative creations are in the planning stages.There isgrowingevidencesurrounding thebenefitsofcommunitybasedartonsociety as a whole by

engaging hard to reach demographics, such as youth, ethnic and socio-economicallydisadvantagedcommunities;

» providingacreativefocusforcommunitiestoexploreissuesandaspirations;

» creatingnewanddiverseartisticworkandculturalexperiences;

» developingconfidence,prideandasenseofbelonginginparticipants;

» providing artists and participants with new career pathways and workopportunities.2

2 ArtsVictoria.2013:MakingArtWithCommunities:AWorkGuide,ArtsVictoria,VicHealth&Castanet

TheFellowshipcreatedtheopportunityforTheFellowtodevelopherknowledgeand skill which resulted in several recommendations for various art industrysectorsandstakeholdersincludinggovernment,theprivatesector,educationandtraining,industryandprofessionalassociations,andartistsandcollectives.

1.Various mosaic sample boards, Mosaic Art School, Ravenna, and


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2. The Empress and other tarot sculptures, Il Giardino dei Tarocchi, Grosseto, by Niki de Saint Phalle

1. abouT The fellowMICRo MosaICs To MaCRo MosaICs

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1. About the Fellow

Laila Costa is a visual artist, contemporary jeweller, community arts projectmanagerandcurator.ShehasexhibitedinsoloandgroupexhibitionsinAustralia,U.S.AandArgentina,inavarietyofartistrunspacesandcommercialgalleries.In2011shewasawardedastudygrantforaMosaicscourseinSpilimbergo,Italy,by Ente Friuli nel Mondo and in 2012 was an artist in residence at Residencia Corazón,Argentina.CostaisastudioartistatNorthCity4studios,Brunswick,andis co-founder and curator of TempContempGallery, a one-year project due tocommenceinAugust2018.

CostaworkedasasessionalteacherwithintheDesign,VisualArtandSupportedLearningDepartmentsatSwinburneUniversityofTechnologyfrom2006to2016.She is passionate about education and providing students with the learningrequiredtodeveloptheirownpersonalvoice,nurtureastrongcuriosityandloveoflearning.

As a program manager and curator of the Urban Campfires program at theNeighbourhoodJusticeCentre,Collingwood, sheengageswith individuals andcommunity groups to produce bi-annual exhibitions. Produced in conjunctionwith theBelgiumAvenueNeighbourhoodHouse, theprogramaims tocreateawelcomingenvironment,provideacomfortingdistractionanddiminishthestressanddiscomfortduetoinvolvementwiththecourtsystem.Theissuesofsocialjusticearethebasisofthecuratorialpremiseandworkshopsaredevisedtoproduceoutcomesforpublicandprivatedisplaywithinthebuilding.TheFellowiscurrentlyworkingonproducinganartcollectionfortheHeidelbergandSheppartoncourts.

Qualifications » CertificateIVinTrainingandAssessment,SwinburneTAFE,Upgrade2016

» GraduateDiplomainVisualArts,VictorianCollegeoftheArts,2003

» BachelorofArtsinFineArts,RoyalMelbourneInstituteofTechnology,1992

» AdvancedCertificateinArtandDesign,BoxHillInstituteofT.A.F.E,1988

Memberships » NationalAssociationofVisualArtists(NAVA)

» Artshub

» CraftVictoria

» Mosaic Association ofAustraliaandNewZealand(MAANZ)

3. The Fellow working on a micro mosaic ring at Mosaic Art School, Ravenna. Photo credit Mark Glazebrook

2. aIMs of The fellowshIPMICRo MosaICs To MaCRo MosaICs

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2. Aims of the Fellowship

3 CreativeConnections.2014:PromotingmentalhealthandWellbeingthroughCommunityArtsParticipation,VicHealth

“Themosaicisaworld-oldtechniqueandatthesametimeitisascontemporaryasourheartbeat….Becauseofitstasteforassemblage,becauseoftheassociationoffragmentsandideas…becauseofitshighchromaticvivacity”(EnricoBaj).

ThepurposeoftheFellowshipwastoundertakestudyinordertolearnnewskillsand techniques thatarenotcurrentlyavailable inAustralia. Inaddition,visits tolargeandsmall-scaleartprojectsthatincorporatemosaicfeatureswerescheduledinordertoenhancetheFellow’scurrentknowledgeinprojectmanagementanddevelopmentalprocess.

AspartoftheFellowshipthefollowingtrainingwasundertaken:

» Completedafive-dayMicroMosaicforJewellerycourse(Italy).

» Completedafive-dayMicroMosaic(filati)course(Orsoni,Venice,Italy).

Participation in these workshops enabled the Fellow to study new techniquesanddevelopspecificmicromosaicskillsets,includingthehands-onproductionofmicromosaicsandjewellerypieces.TheFellowwasalsoabletodocumenttheprocessofmicromosaicproductionanddevelopalistofmaterials,processesandtechniquesthatcanbeadaptedforthedeliveryoffutureclasses,demonstrationsandpublicationswithinAustralia,thussupportingtheskilldevelopmentofotherartists.

TheFellowshiphasalsoinformedtheFellow’sworkinthecommunityartssectorwhere she manages various projects and budgets. These projects may beginsmallandwith input fromdifferinggroups,expandovertime.Eachartworkhasthepotential togrowandproduce largeroutcomessuchasmurals,sculpturesand installations.

The artworks are produced in conjunction with workshops that the Fellowstructuresandmanages.Theseworkshopsarefacilitatedbylocalartistsandarebasedontheparticipant’sinterestsandrequests.Thefellowalsoreceivesinputfromvariousstakeholdersincludingfundingbodies,andmustalwaysconsiderthedimensionsofvenueswheretheworkwillbeexhibited.TheFellowalsoutilisesherknowledgeandexperienceofpastandcontemporarycommunityartpracticesglobally.

Theartproducedbringsbenefitstomany:theparticipants,thehostinginstitutesandorganizations, the fundingbodies, the teammanaging theproject and thecommunity of viewerswho visit andexperience the art. Forpeoplewhocomeacross the art in their daily life, it enhances their interactionwith the space. Itenables amoment to ponder themotivations, thoughts and skills used,whichcanbeanupliftingexperience.Forexample,artworkinamagistrate’scourtthatis produced by peoplewhomay be experiencing similar issues as the viewer,canofferconsolation.Artworkcan likewiseenhance theexperienceof thestaffworking in these spaces daily.

Thepeoplewhocreatetheartalsobenefitinmanyways,fromskillsacquisitiontointeractionwithothercommunitymembers.Thesenseofinclusioncanincreasetheirsenseofwellbeingandmentalhealth.Inthisway,communityartsprojectscan increase participant’s ‘ability to function at broader political, social andenvironmental levels.Throughtheartwork,theseprojectsprovidethe importantdualbenefitsofconnectingsocially isolatedparticipants to themainstreamandconnectingthemainstreamtothesociallyisolatedparticipants’.3

MICRo MosaICs To MaCRo MosaICs

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3. The ausTRalIan ConTexT

3. The Australian Context

Australia isayoungcountry thathasaveryshortculturalhistory (excluding forthepurposesof this report the50,000 yearsof indigenoushistory) and limitededucationalexposureandengagementwiththeartsintheprimaryandsecondaryschoolsystem.Weareapost-colonial,multiculturalsocietythatbringstogetherdifferentculturalhistories,skillsandideologies.Overwhelmingly,theartisticvisionpresented is that of a white, middle classmale perspective. However, as thisperspective shifts, there is potential for innovative, ambitious and adventurousprojectstobeenvisioned.Educationisalwayskeyasarethefundingandsystemicstructuresthatenablecreativestorealisetheiraims. Ideallywerequireastronggovernmentwithaboldculturalvisionthatunderstandstheeconomicandsocialbenefitsgainedfromartisticenterprise.“‘Artliteracy’hassimilarpublicbenefittothatoftextliteracyandnumeracyinprovidingthevaluethatcomesfromhavinganeducatedpublic.”

3.1 Mosaic ArtInahighlymechanisedanddigitallyengagedsociety,handmadeskillsandcrafttechniques are being increasingly appreciated and finding new markets. Thepushbackinsomesectionsofthecommunityagainstmassproductionhasseenanincreasedinterestinbespokeanduniquepieces,andtheseproductscannowreachaglobalaudienceviawebsitesandsocialnetworks.

Micromosaic isa specialised, traditional formofmosaic that isextremely timeconsuming,labourintensiveandhasanichemarketglobally.Therearecurrentlyno micro mosaic courses available in Australia. There are very few practicingartisansandfewerwithextensiveknowledgeinthesetechniques,particularly inajewellerymakingcontext.Thematerialsandequipmentrequiredarenotreadily

available and are costly. This, combinedwith the amount of labour involved inproducingonemicromosaicpiececanmake these itemsexpensiveandpushthemintotheluxurymarket.

WhilethereisahealthyAustralianmosaicmakingcommunityincludingmosaicistswhoproducecommissionpiecesandwork in variousstylesandmaterials, theawarenessofmicromosaicisminimal,evenforpeoplewithspecialisedknowledgeoftheartsandcrafts.

TheMosaic Association of Australia and New Zealand (MAANZ) are an activecommunitywhoareplanningasymposiuminAugust2018inTasmania.Theeventwill includespeakers,exhibitionsandworkshopsandprovideanopportunity toengagewithmosaics.MAANZpublishaquarterlye-magazine,OpusOracle,whichhasfeaturestories,amember’sshowcase,technicaltips,andstaterepresentativereports.MAANZareworkinghardtoraisetheprofileofthisimportantartform.

There aremany large scalemosaic pieces that are accessible to the public inMelbourne including:

» TheAngelbyDeborahHalpern,commissionedbytheAustralianBicentennialAuthorityforthesouthmoatoftheNationalGalleryofVictoria(NGV),whichhasnowbeeninstalledontheYarraRiverbankatBirrarungMarr.

» TheFlindersStreetRailwayStationMural,amosaicandpaintedmuralbyMirkaMora, commissioned early 1980s and completed in 1986 at Flinders StreetRailway Station.

» TheLegendofFire,1980–1982,byHaroldFreedmanandcommissionedbytheMelbourneMetropolitanFireBrigade,EastMelbourne.


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» TheOnceUponaSlimeOutdoor,2008,byHelenBodycomb,commissionedbytheCityofMelbourne,andpresentedatArtPlay.4

3.2 Community Arts ProjectsCommunity art projects are usually implemented at a local level and fundedby councils, suburban neighbourhood houses, schools, non-governmentorganisations,religiousandcommunityorganisations.Thereareseveralcommunityprojectsof all sizesandmodels rollingoutasmore fundingbecomesavailableviastateand localgovernment, forexample innursinghomesandmagistrates’courts.

As community engagement is proven to increase people’s sense ofwellbeing,physicalandmentalhealth,moreorganisationsareopentofacilitatingartprojectsaspartoftheirprograms.Someprivatecompaniesarealsogettingonboardwithsocial responsibilitypolicies,andengaging incommunityprojects.Thebenefitsforindividualsandcommunitiescollaboratingincludeimprovedeconomic,social,physicalandmentalhealthoutcomes.

Indeed‘Thereismountingevidencethatparticipatingintheartsdevelopscreativethinkingthatistransferableacrossallknowledgeareas.Itteachesustolinkdiverseideasandexperiences.Creativethinkingandtheflexibilityofmindandactionareincreasingly recognised as desirable attributes in the 21st century.’5

WhilethereareprogressiveartsprojectsbeingundertakeninMelbourne,inspirationisoftendrawnfromoverseas.Thequestionis‘HowandwhenwillAustraliacatchuptoitsinternationalcounterpartsandfulfilitsartisticpotential.’

Forcommunityartorganisations,TheAustraliangovernmenthasbeensupportingtheartsviaitsofficialartsfundingbody,theAustraliaCouncil.Stategovernments4 Campbell,R,Murray,C,Brennan,S,Pettit.J.2017:TheeconomicsofAustralia’ssmall-to-mediumvisualartssector.NationalAssociationfortheVisualArts5 ArtsVictoria.2013:MakingArtWithCommunities:AWorkGuide,ArtsVictoria,VicHealth&Castanet6 DipartimentoEducazioneCastellodiRivoliMuseod’ArteContemporanea.2017:Abi-tantiLaMoltitudineMigrante

also support the arts through state funding bodies such as Creative Victoria.Variousotherformsoffundingtrickledownthoughstategovernmentdepartmentsand councils.

However,Europehasamuchlongerhistoryofsupportforartists,andadeeperunderstanding and acceptance of the cultural advantages and social reach oftheirwork.WhileprivateandartistruninitiativegalleriesinAustraliaareopeninguptotheideaofcommunityengagementandsocialpracticeasareasofgrowthinprogramming,wearestillalongwaybehind.

TheAbi-tantiprojectisanexampleofasuccessfulEuropeancommunitybasedartproject.Itwaslaunchedin2000bytheEducationDepartmentoftheCastellodiRivolliMuseumofContemporaryArt,Turino,andisconsideredaworkinprogress.TheAbi-tantiarewoodenhumanoidobjectsthathavebeenmadebythousandsofprimaryschoolchildren.Theyinvestigatethenotionsofidentity,differenceandmigration. The objects are then placed in agoras (public spaces for meeting),thefirstoneofwhichwasapiazza inTurino.TheAbi-tantihavesincemigratedthroughout Italy,Europeandarrived to inhabit thecourtyardof the ImmigrationMuseumandstepsof theVictorianParliamentHouse inMelbourne,2017.Theproject was invited by the inaugural Arts Learning Festival who celebrate theimportanceofartsineducationandfundedbyIndependentSchoolsVictoria.

TheAbi-tantiprojectiscontinuingitsmigrationandhaspartneredwithnumerousprimary schools, educational institutions, private businesses, public galleries(including Le Louvre) and festivals (such as Triennale diMilano). The project isinspiredbythetheoriesoflifelonglearning,peereducationandaccessforpeopleof all abilities. It works with ‘the notions of the present time that require newthinkingand freshwaysofbeing together, toplana futureopen topeaceandhopeusingtheculturaltoolsofartandcreativity.’6


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InAustralia,thereisapushforartprojectswiththislevelofglobalreach,however,we still look to these overseas models as best practice and inspiration. TheMelbourneBased5000Poppiesprojectfulfilledsomequiteambitiousoutcomesand is apositiveexampleofwell targeted fundingwithinAustralia. Theprojectstartedasaprivate art program,andquicklywent viral.After gaining this highvisibility, the project received significant funding via the commonwealth fundedAnzacCentenary.Asaresult,crochetedandknittedpoppieshavebeensenttoAustraliafromaroundtheworldby50,000makers.ThesepoppieshavetravelledtoRHSChelseaFlowerShow,London,Fromelles,France,andnumerousothersmaller venues. 61,000 plus stemmed poppies where also installed for theAustralianWarMemorialinCanberraforRemembranceDay2018.


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4. sKIlls enhanCeMenT and KnowledGe aCquIsITIon aReas

4. Skills enhancement and Knowledge Acquisition Areas

ThisFellowshipwasdesignedtoaidinthedevelopmentofskillsandknowledgeacrossseveralareasofmosaicmakingtechniquethatarenotcurrentlyavailableintheAustralianeducationspace.TheFellowplannedtoreturnhomeandsharethese learnings within the Australian sector.

Skills Enhancement 1:Micro Mosaic Filati for Jewellery courseTheFellowparticipatedinafive-dayMicro-MosaicFilatiforJewellerycourseattheMosaicArtSchoolinRavenna.ThisbuiltonherknowledgeandskillsbothintheGreco-Romantechniqueofmosaicmakingandasajewellerymaker.

TheFilatiTechniquewasintroducedanddevelopedattheendofthe18thcenturyby the Vatican to produce exquisite jewellery. The technique consists of thecreationofmicro-tiles(tesserae)madebypullingfusedglassunderagasflameof900C°.Foreachpull,auniquecolorisreached,neverrepeated.Therodshapesandcolourscanbecustomisedas theartistseesfit, inorder tomakedetailedimagery.Themicro-mosaictechnique,alongwiththerecipeofthe“stucco”frompowderedmarble,isstillaverywell-keptsecret.

Whileundertakingthistraining,theFellowaimedto:

» Learnthetechniquesofsmaltiglassmaking(Filato)andfusion.Theseincludedcutting,micro-design,howtomixglasscoloursandtheassemblyoftinymosaicportionstocreatejewellerycomponents.

» Create two pieces, such as a brooch, pendant or ring. The first piecewasdevelopedonabasemadeofmetalalloyorbrass,allowingtheFellowtouse

thebasictechniques.Thesecondpiecewasmorecomplexanddevelopedonasterlingsilverbase.

» Enhance skills gained in 2011 when the Fellow participated in a two-weekintensive“IntroductiontoMosaicMaking”courseatScuolaMosaicidelFriuli,Spilimbergo,Italy.

» IncreasetheFellow’shistoricalknowledgeofmosaicbyvisitingthemanybuildingsin Ravenna, which house a vast collection of Early Christian and Byzantinemosaics. Thesebuildings, suchas theBasilicaofSanVitale,MausoleumofGalla Placidia and Baptistery of Neon have been on the UNESCO’s WorldHeritageListsince1996.

action/outcomes:createmicro-mosaicjewellerypiecesusingthenewlylearnedprocessesanddocumenttheprocessviaphotographyandtext.

action/outcomes: developalistofmaterials,processesandtechniquestouseinthedeliveryoffutureclasses(bothpracticalandtheory),demonstrations,talksand publications in Australia.

Skills Enhancement 2:Master in Mosaic Workshop - Roman FilatiTheFellowparticipatedinafive-dayMasterinMosaic“LivingtheVeniceworkshop:History, Theory and the Application ofMosaic Art” course. The AngeloOrsoniMosaicifoundryinVenicebeganproducingByzantinegoldleafandRenaissancecolouredglasssmaltiin1888.Thisfurtherenhancedherknowledgeandskillsinmicromosaicmaking.


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WhileundertakingthistrainingtheFellowaimedto:

» Learnhowtopullfilati,controllingtheshape,thicknessandcolourandbuilduponherskills in theByzantine technique thatshebrieflyexperimentedwithin2011atSpilimbergo.TheFellowcompletedasmall4x4cmmosaicinthedirectmethodusingtheVenetiansmalti (coloured,non-transparent,compactglassslabs)inacontemporarystyle.

» Studytheonsiteworkingfoundry,itsfurnacesandcrucibles,andtheproductionofsmaltipizze(orslabs)andfilatimicro-mosaics.TheFellowfamiliarisedherselfwith the resource of theOrsoni ‘colour library’which consists of over 3000colours,tints,tonesandshades.

» Research and visit suppliers of filati glass and other materials required toundertakethisworkinthefuture.

» Learnthetechniquesrequiredtomakegoldleaftessare,whichismadeonsitebyOrsoni.

» ResearchmosaicsonaguidedtouroftheVenetianislandofTorcello.

action/outcomes:createanewmosaicusingthenewlylearnedprocessesanddocumenttheprocessviaphotographyandtext.

action/outcomes: developalistofmaterials,processesandtechniquestouseinthedeliveryoffutureclasses(bothpracticalandtheory),demonstrations,talksand publications in Australia.

Knowledge Acquisition 1: Visit Il Giardino dei Tarocchi (The Tarot Garden), Pescia

Fiorentina, Tuscany (Italy). TheFellowvisitedIlGiardinodeiTarocchiinPesciaFiorentina,provinceofGrosseto,Tuscany. IlGiardinodeiTarocchiorTheTarotgarden isa tarotbasedsculpture

gardencreatedbyFrenchartistNikideSaintPhallebetweenthelate1970’sand2002.Theartist’sinspirationcamefromParkGüellbyGaudìinBarcelona,Spain.IlGiardinodeiTarocchihousestwenty-twomonumentalfiguresrepresentingthegreatermysteries of the tarot, constructed of reinforced concrete and coveredwithmirrors and ceramicmosaic. The figures canbewalked through, and theartist lived on-site inside the sphinx like Empress sculpture for severalmonthsduringtheconstructionofthegarden.

DuringthisvisittheFellowaimedto:

» Studythegardenasitprovidesanexcellentexampleofalarge-scaleprojectbuiltbyacommunityoflike-mindedindividualsofvaryingskilllevels.TherearenoexamplesofasimilarapproachbeingutilisedinAustralia.

» Continueon-goingdiscussionswithmanagersof this important community-arts site.

action/outcomes:documentthevisitwithtextandphotography.

action/outcomes: document information about techniques and projectmanagementapproaches.

Knowledge Acquisition 2: Visit Parc Güell (1900-14), Casa Mila (La Pedrera) (1906-12)

and Casa Batlló (1904-6) in Barcelona (Spain)TheAntoniGaudíbuildingsthatoccupyParcGüellwereinfluencedbyarchitecture,formsinnatureandreligion.Themostsignificantqualityofhisworkistheseamlessintegrationofarchitecture,sculpture,stainedglass,ironworkandceramicmosaicswhichcreateaneclecticstyleknownasModernismeCatalan.


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Gaudíadornedmanyofhisbuildingswithceramicmosaicsandtilingaddingtheelement of colour. He introduced a new technique thatwas tomix traditional,squarecuttesseraewithirregularlyshapedpiecesselectedfrombrokenceramicorwastetiles.Thisstyleiscalledtrencadisorbrokentilemosaics.Gaudí’sstyleisdecorativeandincorporatesnaturalmotifs,organicarrangementsandfrequentlyavoidsstraightlinesandangles.

DuringthesevisitstheFellowaimedto:

» Undertake a tour of the site to build upon existing knowledge and betterunderstandthehistory,influencesandmosaictechniques.

» Study the similarities and differences between ParcGüell, Barcelona, and IlGiardinodeiTarocchi,Florence.

» Study the park and buildings as world-class examples of large-scalecommissionedprojectsbuiltbyanartistwiththeassistanceofvariousexpertcraft and trades people. This park is significant and provides a wonderfulopportunity for learning as there is no example of a similar approach beingused in Australia.

action/outcomes: documentthevisitwithtextandphotography.

action/outcomes: document information about techniques and projectmanagementapproaches.


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5. The InTeRnaTIonal exPeRIenCe

5. The International Experience

“Watchingyoungstudentsof theScuolaMosaicistiatwork, Iunderstoodwhata workshop really is: an atelier where hands literally think, see and interpret,wherescrapmaterialsareennobled,wherenaturalstonesconversewithmetalsand Venetian smalti, where anything is possible, where a work of art can behermeneuticallyrefoundedwithone’sown...hands.”(ConcettoPuzzati)

Mosaic is a term that identifies an art and technique that has responded tocultural,politicalandtechnologicalissuesthroughouttheageswhilereflectingthecontemporarydesiresof (it’s) society. Lifestylesand religiousbeliefs haveoftenunderpinned the imagery and narrative within mosaic art works. The wealthyupperclassesandtheclergycommissionedmosaicworkstoconveytheirpower,statusandinformthevieweroftheirobligations.

TheearliestexamplesofmosaicswerefoundintheGreekHellenisticandRomanperiod (V century BC – V century AD) when river pebbles were used to pavecourtyards and streets with simple geometric patterns. These refined imagesportrayednaturalisticandmythologicalsubjectsandemphasisedtheprofilesoffigures.

ItalyisthebirthplaceofmosaicwhichdatesbacktoRomantimeswherepebbleswere initially used on floors and then substitutedwith readily availablemarble,cutting them into four-sided tessare.Thesefloorswhereused in villas, imperialpalacesandbaths,andwerecalledopustessellatum.Marblemosaicsonfloorsand wall decorations ultimately became integrated into the architecture. Thecommonthemesusedwerehistorical,mythologicalandnaturalistic,suchasstill-lives,huntingscenes,animals,andgeometricpatterns.Theavailablecoloursusedwerelimitedtothenaturalcoloursofwhite,black,redandyellow.

TheByzantineandMedievalera(V–XVcenturies)sawcolouredsmaltidecoratewalls, ceilings and domes of churches and basilicas. The renaissance periodsawartistsandcraftsmenfurtherdevelopmaterialsandtechniqueswithRome,FlorenceandVenicebecomingthecitiesofinfluence.TheVaticanCityWorkshopinventedfilati,usingtheminmicromosaics.TheXIXcenturysawthisformreachitspinnacle in jewelleryandsmallboxespurchasedassouvenirsby touristsonthe Grand Tour. This history then fed into the modernism period when artistsexperimented with shape, texture and technique to produce new pieces thatreflectedthemodernexperienceandlifestyle.

Destination 1: Micro Mosaic Filati for Jewellery Course, Mosaic

Art School, Ravenna, Italy (10 – 15 April, 2017).

school director: luciana notturni

Teacher: annalisa Marcucci

TheFellowarrivedinRavennatocommenceaweeklongintensivecourseandwasimmediately confrontedwithworksofmosaics in the streets andonbuildings.RavennaisaUNESCOworldheritagecityasitisaByzantinecitythathousessomeoftheworld’smajormosaicworksinchurches,baptisteriesandbasilicas.Since2009 ithosts the InternationalContemporaryMosaicFestival that isabiennaleexhibitionofcontemporarymosaicsfromaroundtheworld.Theeventinvolvesthewholecityandculturalinstitutionsinaprogramdevotedtocontemporarymosaicart, offering visitors exhibitions,meetings, conferences,workshops and guidedtoursinthemostevocativeplaceswithintheinnercity.


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5. The InTeRnaTIonal exPeRIenCe

objectives:Complete the course anduse newly acquired skills to create twopiecesofmicromosaicjewellery;inthiscase,acirculartoppedringandcircularpendant,usingthetraditionalmaterialsandtechniques.

background: Theschooliscomprisedofalargeworkshop,indoorandoutdoorstudioarea,andanofficewhichhousesmanyexamplesofpaststudent’swork.Theteacherstherealsocreatepersonalworksthataresoldataseparatemosaicoutlet. Teachers also make mosaics of varying sizes and styles, undertakerestorationprojectworkanddesignthree-dimensionalsculpturesoncommission.SometeachintheartcourseattheUniversityofRavennawheremosaicisacoresubject.

outcomes:TheFellowdevelopedskills inavarietyofareasduringthetrainingcourse,allofwhichareoutlinedindetailbelow.

Skill: Smalti and filati » ThematerialsusedformakingfilatocanesaregenerallyaspecifictypeofsmalticalledMother Tints.Historically, they came only in primary colours - lattimo(white), solfigno (yellow), rubino (red), buccaro blu (blue) and buccaro nero(black).Butafewextrashavenowbeenadded-verdemare(seagreen),giallooro(goldenyellow)andgiallorosso(reddishyellow).Itispossibletomixthesevitreousmaterialstogethertocreatenewcolours.

» Thereareparticularities inherent incertaincolours.Buccaronero (black), forexample,israrelyusedonitsownasitissodarkitresemblesaholebetweenthetessare.Italsohasalowmeltingpointthatcausesdifficultieswhenmixingwithothercolours.Whenadarkcolourisneededitispreferabletouseeitherthebuccaroblue,rubinoorverdemarethatarealmostblackwhennotmixedwith other colours.

» It ispossibletouseregularsmaltitomakefilatihowever it is importanttobeaware that thesematerials are not specific for filato and can change colourduring themeltingprocess.TheFellowexperiencedthiswhenshechosean

inappropriate golden yellow smalti that became dull ochre yellow once madeintofilati.Thechangeincolourmeantthattheycouldnotbeusedinthedesignandamothertint,solfigno,hadtobeused.

skill: Melting and pulling techniquesMelting: Thesmaltiand/ormothertintsarecutintosmalltessareandplacedintoasmall,shallowcruciblewithapoker.Ablowtorchattachedtoatankofmethanegas is litandthetessarealongwiththepoker isslowlyheated.Asthematerialheatstheflameisturnedupuntilthetessarearevisiblyhot,startingtoglowandwillsticktothepoker.Stillintheflame,itisnecessarytopressthepokerintothematerial, turning,pressingandpulling so that themoltenmaterial adheresandformsaballon the tip.Once thematerial isballedon the tipof thepoker, it ispossibleto liftthemoltenballoffthecrucibleandensure it isstucksecurelybypinchingthebasewithapairofmetaltongs.

Mixing: Theglassmust thenbemixedand rotatedaround thepoker togetauniform material. The ball of glass should be evenly heated and when visiblymolten,asecondpokerisusedtorotatetheglassaroundthepoker,makingsuretopushthepokerawayfromthebody.Oncemixed,itisimportanttoevenoutthesurfaceasmuchaspossible,smoothingoveranyholesorcervices.

shapes:Oncethematerialiswellmixedandinauniformball,itisnecessarytocreateoneoftwoshapestothenbeabletocreateothershapes.Shapesandtheircorrespondingbaseshapesare:a)Cylinder,thebaseforround,square,rectangle,petal,leaf,andheart;and,b)Lollypop,thebaseforflat,curve,doublecurve,bladeofgrass.Thebaseshapeismadeusingmetaltongs.Thesecondshapecanbemadewiththetongsorbysquishingthematerialbetweenamarblebaseandamarbleslab.

Pulling:Oncethedesiredshapehasbeenobtainedthefilatorodcanbepulled.HeatthetipoftheshapedGlassonandthepokeruntilitglowsorange.Onceitissoftenedstarttopulltheglasswiththetongs,firstfromonesideandthenfrom

5. The InTeRnaTIonal exPeRIenCeMICRo MosaICs To MaCRo MosaICs

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theother.Itisnecessarytokeepthemainballofglassintheflametobeabletopullthefilatothreads.Whenthethreadisatthecorrectlengthitispacedontheworksurfaceandbrokenwiththetongs.Continuetopulluntiltheglassisfinished.

flame use:Whenworkingwiththeflameitisimportanttokeepthematerialintheflamealwaysandconstantlymoving.Ifthematerialmovesinandoutoftheflameitwillheatandcooltoomanytimesandbecomestubbornandunworkable.Also,itisimportanttoworkquicklyasitisquiteeasyto‘burn’theglassproducinganundesirablecolouroramaterialthatisunusable.TheFellowexperiencedthiswhenover-heatingalightpinkthatbecameblackenedandunusableforherproject.

4. Heating the smalti in the crucible with a blowtorch and poker, Mosaic Art School, Ravenna. Photo credit - Mark Glazebrook

5: Pulling circular blue filati from the molten mass using tongs and the flame, Orsoni, Venice. Photo credit – Elaine Varacalli


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skill: Making the Micro MosaicTools: Oncetheglasshasbeenpulledintorods,atriangulardiamondfileandapairofpointysurgicaltweezersarerequired.

Cutting the tessare:Therodisscoredattherequiredheightwiththediamondfileandwiththetweezers,gripthetipoftherodabovethepointscoredandsnapthepiecefreefromtherod.Thetessareareplacedtemporarilyonthethumbtomanoeuvreitintothebezelandstucco.

stucco:Thetypeofmortarusedformakingfilatomosaicislaidinathinsmoothsurfaceoverthebezel.Theoriginalmaterialsusedbyantiquemosaicistsarestillusedtoday,althoughexactrecipesandamountsarenotknown.Theingredientsarelimepowder,travertinedust(size00),rawandcookedlinseedoil.Itcanalsobecalled‘oilstucco’or‘oilmastic’.The ingredientsarecombined inapotandareplacedoveraflameuntiltheyareheatedandwellmixed.Themixtureisthenpouredintoacontainertodry,thiscantakeuptooneyear.Whendried,breakasmallpieceofthebrick,reduceittoapowderanddependingontheseason,addrawlinseedoil insummerandcookedlinseedoil inwinter.Addsixdropsofoiltooneteaspoonofstuccodustandmixwelluntilthestuccohasasmoothandmalleableconsistency.Stuccocanstaysoftfor6–12monthsifsealedsecurely.Oncethemicromosaiciscompleted,thestuccoisquitedryandstrongafteronlythreedayshowever,itcantakeonetosixmonthstocureentirely.

6. Pieces of dried stucco mixture, Mosaic Art School, Ravenna


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7. Adding raw linseed oil to the finely ground stucco, drop by drop. Mosaic Art School, Ravenna

working method: Theplacementofthetessareisveryimportant,astheyneedtoberestingagainstsomething-eitherthewallofthebezelorpreviouslyinsertedteassare.Theyareinsertedverticallyintothestucco,makingsuretheyarestandingstraightbypushinglightlyonthebase.Themosaicmustbemademethodicallyfillingthebezelworkingformoneareatothenext,toptobottom,lefttorightasitisnotpossibletoworkstartinginthecentre.Asitiscrucialforthetessarebeplacedupagainstsomething,onemustworktheirway inandbuildaroundthecentral design.

Itismosthelpfultoplaceaphotocopyofthedesigninthebezelandontopofthestuccoforreference.Thisimageiscutlittlebylittlebeforeanumberoftessareareinserted.Thefilatotessarearemadespecificallytothecoloursandshapesthatareappropriateforthedesigncreated.Itispossibleandadvisabletousedifferentshapesandsizestoenhancethedesignandcreatemovement.

8. Ring with micro mosaic in progress. Mosaic Art School, Ravenna


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9: Tray of selected colour filati and the completed ring. Mosaic Art School, Ravenna

VisitByzantinebuildingtoviewthemosaicsinsitu:TheFellowhadthepleasureofvisitingmanyofthecity’sUNESCOlistedbuildingsandaguidedtourwasincludedinthecourse.Thetourvisitedmanyofthemosaicsstudiedandusedasexamplesinarthistoryclasses.ThevisitincludedtheBasilicaofSant’ApollinareNuovo,theMausoleumofGallaPlacidia,theBasilicaofSanVitale,BaptisteryoftheNeoniansandtheBaptisteryoftheArians.TheDomusDeiTappetidiPietra(HouseofStoneCarpets) opened in 2002, exhibits the Romanmarble floors of 14 rooms of aprivateresidencefromtheV–VIcenturies.

7 TheTarotGarden,NikideSaintPhalle,1997:BenteliVerlagsAG,Berne

Destination 2: Il Giardino dei Tarocchi (The Tarot Garden),

Pescia Fiorentina, Tuscany, Italy (19 April, 2017)NikideSaintPhalle(1930-2002)wastheartistandarchitectofTheTarotGarden.Constructioncommencedin1979andcontinuestothisday,andhasbeenopentothepublicsince1988.

“In1955IwenttoBarcelona.ThereIsawthebeautifulParkGuellofGuadi(sic).Imetbothmymasterandmydestiny…IknewthatIwasmeantonedaytobuildmyownGardenofJoy.A littleplacebetweenmanandnature.”7 (NikideSaintPhalle)

TheGiardino is locatedonasmall, rockyhill thatwasa formerolivegroveandtheoriginaltreesremainamongstthesculptures.Thelandbelongedtoawealthyfriendandpatronoftheartistwhoallowedhertobuildhervisionthere.FromthetopofthehillyoucanseetheTyrrhenianSea,cypresstreesandthenon-functionalnuclearplant.Itiswindyandtheskyisconstantlychangingascloudsrollinfromthesea.Toreachthegardenyoumustwalkupahillonadirtroad,coveredwithtreesuntilthesculpturalformsbegintoappear.Thisslowrevealwasplannedinthegarden’slayoutandisanimportantpartofthejourney.DeSaintPhallewantedvisitorstowonderaroundthegardenfreely,attheirownpace,discovertheworksastheywentandrevelintheiremotionandmystery.


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10. The Magician, Wheel of Fortune and High Priestess. Il Giardino dei Tarrocchi, Grosseto, by Niki de Saint Phalle

11. The courtyard of The Emperor with olive trees. Il Giardino dei Tarrocchi, Grosseto, by Niki de Saint Phalle


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Mosaicsofceramics,glassandmirrorscoverthesculpturalforms.Theceramicsareallcustommadefortheformandsomecontainimageryandwrittentexttoheightenthevisualexperience.Paintwasusedwherethereisnomosaic.

De Saint Phalle, a successful artist working globally on commissions andexhibitions,self-fundedtheGiardinoprojectwithincomederivedfromthiswork.She even created a perfume, silkscreens and polychrome sculptured vasesespeciallyfortheproject.TheFoundationoftheTarotGardenwasconstitutedinRomeonAugust4,1997andonJuly8,2002theRegionofTuscanygrantsofficialjuridicalrecognitiontotheFoundation.

TheNikiCharitableArtFoundationwascreatedbyNikideSaintPhalleandbecameofficiallyactiveuponherdeathin2002.TheFoundationmaintainstheartworkandarchivesandholdstheintellectualpropertyrightsforthem.TheGiardinoisfundedbytheFoundation,admissionfeesandthroughthegarden’sboutiquethatsellsmerchandise.

objectives: TovisitTheTarotGardenandviewtheentireprojectonsite,observehowthevarioussculpturesinteractinthelandscapeandidentifyhowtheceramicmosaictilesaremade.TheknowledgeacquiredwillassisttheFellowinherworkasacommunity artsworker, thus inspiringnewprojectsandwaysofworking.GiventhatthereisnothingcomparableinAustralia,thissitewasaplacewheretheimaginationcouldmeander freely, a spacewherecontemplation isencouragedanddreamingisstimulated.Thegardentakesthetinyworldoffilatimicromosaicandtransformsitintoalarge-scale,interactivegardenthatactivatestheemotionsofitsvisitors.

outcomes:TheFellowacquiredconsiderableknowledgeduringthisvisit,someofwhichcouldbeemployedinsignificantcommunityartsprojectsinAustralia,allofwhichareoutlinedindetailbelow.

Knowledge: process and project management » 1978–DeSaintPhalledesigns the layout for theGiardinoandmakes initialmodels.

» 1979-Landiscleared,foundationsdugatthesite,andwaterandelectricityareconnected.Theartistspentthenexttenyearsonsiterentingacottagenearby,hiring assistants from the surrounding farms to help herwith the enormousundertaking.

» 1980s - De Saint Phalle began work on the first architectural sculptures.Constructionbeginswith TheHighPriestess (Artist: JeanTinguely),withDeSaintPhalle’spartnerandhisSwissteamweldingtheironunderstructuresforthisfirstgroupofsculptures,whichalso includesTheEmpress(TheSphinx).TinguelyisapivotalpersonintheGiardino’sformation,workingontheweldingashebeganthephysicalconstructionofthefirstthreemajorsculpturesandemotionallysupportedtheartistthroughouttheprojectuntilhisdeathin1991.Hiskineticsculpturesareprominentlyfeatured,forexamplethemainfountaininfrontofTheHighPriestess,onTheTowerofBabelandInsideofInjustice.

» Eachsculpturebegan its lifeasasteelarmaturewelded intoshape,anotherthinnerlayerofironisappliedtoallthesculptures,followedbyadoublelayerofcastingmeshstretchedoverittoreceivethecement.Theinteriorsarelaggedwithacoatofinsulatingmaterialandalayerofmesh.Lateron,beforeapplyingthelastlayerofwhitecement,acoatoftarisappliedtoprotectsculpturesfromoutsideelements.Cementwassprayedovereachformviaacementpumpandthenfinishedbyhandtosmooththetexture.Giventhescale,scaffoldingandfixedandtransportablecraneswereused.Thisprocesstookuptotwoyearstocomplete.

» In1983theartistmovedintothehugesculptureTheEmpress,designedintheformofasphinx,whichservedasherstudioandhomeforthenextsevenyears.By1988shehadmovedintoaNewYorkloft-stylestudiobuiltundergroundattheTarotGarden.


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» ThemosaicswerecreatedbyacrewofartistskeentoexperimentandresearchnewwaysofworkingtorealizeDeSaintPhalle’svision.Whenceramicswereused,theyweremoulded, inmostcasesrightonthesculpturesthemselves,numbered,takentotheovens,cookedandglazedandthenfinallyputbackinplacewithmortar.Thisprocessresultsina10%decreaseinsizesotheemptyspacesneedtobefilledbyhandwithpiecesofglass.Thisisaslowandtediousprocesswherebytheceramicsneedtobeshaped,formedandpaintedbeforegoing into the kilns.

» 1990s - De Saint Phalle works on legalizing the status of her garden. Shebeginsspendinglessandlesstimeeachyearonsitebutprogresscontinues,with maintenance of the garden and its sculptures becoming increasinglyimportant.Restorationofthesculpturesbegins,usingnewgluingtechniquesandemployingaceticsiliconesforthemirrorsandglass.Smallersculpturesarecompletedandthemosaicworkcontinues.JeanTinguelypassesawayandforhealthreasons,deSaintPhallemovestoLaJolla,California,whereshelivesforthenexteightyears.TheGarden’s‘anti-boutique’,furnishingsareputintoplaceandarchitectMarioBottabuildsagatewayattheentrancetotheTarotGarden.TheGiardinoopenstothepublic.

» 2000s-Onthe21stofMay2002,whilestillmakingplansforthegarden,DeSaintPhalle dies at the ageof 71.Uponher death, in accordancewith herwishes,allnewdevelopmentattheTarotGardencomestoanend.

12. Detail of custom moulded ceramic and glass inlay for the covering of The Empress. Il Giardino dei Tarocchi, Grosseto, by Niki de Saint Phalle


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13. Custom ceramics, based on The Birth of Venus by Botticelli, surrounding a circular window. Il Giardino dei Tarocchi, Grosseto, by Niki de Saint Phalle

Knowledge: employees and workers.Thebulkoftheworkerscamefromtwosources.Firstly,frompeoplecurrentlyworkingwithdeSaintPhalleandTinguelyin Europe (such artist assistant Pierre Marie Lejeune and Isabelle Dunoyer deSegonzac who directs the workshop). Secondly, from those living in the localvillages, whom worked on various aspects of the project, and with many stillworkingtheretothisday.OverallthisapproachmadetheFellowfeellikeitwasasmallfamilyownedbusinessratherthanacommercialtouristattraction

8 ThesignthatgreetsvisitorsuponentrancetotheGiardino.1997:Constructedandhandwrittenbytheartist

Knowledge: Maintenance and preservation. The Giardino is closed to thepublicfromNovembertoMarchexceptforthefirstSaturdayofeachmonthwhenentry is free. IndeSaintPhalle’swords - “Notmanypeopleunderstand that IlGiardinoisafragileworkofartwithitsmirrors,glassandceramics,anditneedsdelicatecontinuouscare.ThisisthereasonwhyIlGiardinocannotremainopenall year aswithout adequate nurturingwould fall into ruin in a few years. Andthismustbecarriedoutbytheteamwho,havingbuiltthegardentogetherwithme, has acquired the experience and the ability to do it with knowledge andlove.”8TheFellowdocumentedareasofthegardenwhereworkwasongoing,bringingtheimportanceofconstantupkeeptothefore.Suchworkexemplifiedacommitmenttotheintegrityandsustainabilityoftheartist’sinitialvision.

Knowledge: observation of people interacting with the park. The Fellow spent time watching various people and groups interacting with the space.Overalltherewasafeelingof joy,curiosity,asenseofwonderandmanysmileson faces.Peopleengagedwith largeandsmallareas,walking intothe interiorsofthesculptures(wherepossible),walkingupsteps,sittingandreflecting.Sometookthetimetostopandreadwordswrittenintotheceramics.Thisallowedthemosaiccoveringtobecomeastoryontopofastory,finedetailsthatdrawtheviewer further into theartist’s intentions.Oneparticularstoryon the tilesof theHangedMansculpture toldof thegriefexperiencedafter thedeathofdeSaintPhalle’s partner, Jean Tinguely. The Fellow observed the facial expressions ofvisitorsthatreadthesetiles,contemplatingdeSaintPhalle’spainandloss,addingtothegravitasoftheexperience.

Thedifferenttextureandqualityofthemosaicsprovidedacontinuouslychangingsurface.Themirrors,forexample,hadthequalityofreflectingthelightoftheday,thetreesandnatureaddingashimmering,magicalqualityandmovement.Thereare also fountains that activate the senseof soundas thewatermoveson itscourse.Somefountainsspunandotherscascaded.


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Thesenseof touch isalsoactivatedamongst the textureandsurfaceofmanyceramicsinthegarden,deSaintPhalleencouragedthisinteraction.Averypopularlocation was the The Emperor sculpture, consisting of twenty-two columns,eachonediverseandfilledwithdetail.Themajorityof thecolumnswere threedimensional structures amongst cones, domes, pyramids, horns, skulls, andotherswithinsectandspiderforms.Thevaryingtexturesandscaleofthesetreetrunklikeformsluredmanyvisitorstotouchthem.Itwasalsoapopularplaceforphotographsasthecourtyardiscircularandtheviewerissurroundedbycolour,shapeandform.

14. Columns of The Emperor were made to be touched. Il Giardino dei Tarocchi, Grosseto, by Niki de Saint Phalle

15. Visitors interacting with The Emperor’s courtyard. Il Giardino dei Tarocchi, Grosseto, by Niki de Saint Phalle

Destination 3: Parc Güell in Barcelona, Spain (1 May, 2017)“ThestraightlinebelongstoMan.ThecurvedlinebelongstoGod.”(AntoniGaudí)

In the 1890’s theArtNouveaumovementwas concernedwith an ornamental,non-historicalstyleofarchitecturewhichbrokewithtraditionandrevoltedagainstthe rising Industrial Revolution. It looked to nature for linear patterns, flowingcurvesandtwistingplantlikeforms.‘Its’pervasiveinfluenceontheappliedartsmaybe seen inwrought –ironwork, furniture, jewellery, glass, typography and


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evenwomen’s fashions; ithadaprofoundeffecton thepublic taste’. 9 Artists returnedtotraditionalcraftsthatreflectedthequalityofthematerialsandshowedtheworkingofthehumanhand.

While Anton Gaudí (1852 – 1926) was no doubt influenced by Art Nouveau,the style he createdwould become known asModernismeCatalan. All of theArchitecturewithinParcGüelwasdesignedbyGaudíwith constructionof thisimportantheritagesitecommencingin1910andcompletingin1914.Atthattime,Barcelonawas a thriving, rapidly expandingmetropolis with a large bourgeoiscentrebeingplanned.Gaudídesiredanewartisticformofurbanrepresentationthatwasmixedwithhisreligiousconvictionandadeep-rootedCatalanistpatriotism.

EusebiGüell,awealthytextileindustrialistandpatroncontractedGaudítocreateanestateforwealthyfamiliesinalargesteep,mountainpropertyoverlookingthecityandtheBalearicSea.ItwouldhavesixtyplotsforresidentialbuildingsbasedontheBritishresidentialestates.Whilstworkstartedandmademuchprogress,plots did not sell as building conditionswere highly restrictive, and theprojectbecame unviable.Workwas halted in 1914with only two of the sixty housesenvisagedhavingbeenbuilt.UponGüell’sdeath,thefamilyofferedthesitetotheBarcelonaCityCouncilwhoacquireditin1922andopenedtheparktothepublicin1926.

ThewholesiteisamajorSpanishtouristattractionandin1984UNESCOdeclaredit aWorldHeritage Site. Recognition byUNESCOwas attained due to AntoniGaudí’sexceptionalcreativecontributiontothedevelopmentofarchitectureandconstructiontechnologyattheendofthe19thand20thcentury.

objectives: Visit the park and view the entire project. As with Il Giardino deiTarocchi,theFellowobservedhowthevariousareasinteractinthelandscapeandhow theceramicmosaic tilesaremade, inparticular, the trencradis technique.Theparkprovidesaplacewherethepubliccanwalkaroundandsit,andallowthe

9 Janson,H.W.,AHistoryofArt,1977,ThamesandHudson,London,pg.705

imaginationtomeanderfreely.Thelargepropertyallowsformuchwalking,oftenupsteephillstobenefithealthandwell-being.ParcGüellwastheinspirationforNikideSaintPhalle’sGiardinoinTuscany.Specifically,TheHypostyleRoomwhichhaseighty-sixstriatedcolumnsinspiredintheDoricorderandwasdesignedtobethemarketfortheestate.Somecolumnsarenotverticalbutleanonprecariousanglesandweredesignedthiswaytomimicaforest.

outcomes:Giventhatthere isnothingcomparable inAustralia, theknowledgeacquiredwillassisttheFellowinherworkhasacommunityartsworker, inspirenewprojectsandwaysofworking.

16. Monumental flight of Steps leading up to the Hypostyle Room. Parc Güell, Barcelona, by Antoni Gaudí.


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17. From Nature Square looking over the undulating bench towards the city and sea. Parc Güell, Barcelona, by Antoni Gaudí.

Knowledge: Process and project management » Gaudi laidout theplans for theestate, ondividing the site into levels, suchasaqueducts, footpathsandsteps,demarcatingplotsandsettingupwatercollectionsystems.

» ItconsistsofTheEntranceandPorter’sHouses,MonumentalFlightofStepswith a water fountain, the Hypostyle Room, Nature Square, Laundry RoomPorticos,AustrianGardens,Viaduct,roadways,paths,andaspiralramp.

» By1903 two entrancepavilions hadbeen constructed, aswell as themainflightofsteps,theshelterforhorse-drawncarriages,theouterenclosure,theviaductsandpartofthegreatesplanade,togetherwiththewaterevacuationsystem.

» By1907eventswerealreadybeingheld in thegreatsquare, fromwhichweknow that theHypostyleRoomwasentirelycoveredby then,while the tiledbenchrunningarounditwascompletedin1914.

» Gaudímovedintoahouseontheparkduring1906tolivewithhisfatherandniece. In1907,EusebiGüell converted theoldmansion (CasaLarrard), thatwas already there when he bought the site for development, into his usualresidence.

Knowledge: Trencadis. Trencadis is a type of mosaic created from brokenglazedtileshards.OtherarchitectsoftheModernismeCatalanusedit,howeveritwasGaudi’smostfamous.Hecoveredhisthree-dimensionalarchitecture,suchasceilings,wallsandotherstructural featureswithglazedceramicsofdifferentshapesandbrightcolours.Heoftenusedfoundobjects,discardedceramicsbutalso sourced from tile factories for unwanted stock.Occasionally the ceramicswouldincludeplates,pottery,cupandsaucers.


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18. Detail of the trencadis style mosaic bench decorated by Josep Maria Jujol. Parc Güell, Barcelona, by Antoni Gaudí.

19. Ceiling medallions in the Hypostyle Room that include collected ceramic fragments. Parc Güell, Barcelona, by Antoni Gaudí.

Knowledge: workers and skilled artisans. Josep Maria Jujol was one ofGaudí’sassistants.Hewasanarchitectwhoalsodesignedfurnitureandpainted.HewasGaudí’s trustedcollaboratoronotherprojectssuchasCasaBatlóandCasa Milà. Between 1911-1913 Jujol worked at Parc Güell covering somestructures with trencadis style mosaic. He decorated the undulating benchesthatcurlaroundtheedgesofNatureSquareandtheceilingsofnumeroussmalldomeswithceramicfragmentsintheHypostyleHall.Thereisspeculationthathecreatedthemedallionsofthefoursunsthatrepresentthefourseasons.Heusedverydifferentmaterialsinthemedallionssuchaswineglassfeet,bottlecapsandperfumebottles.

Knowledge: Maintenance and preservation. Nature Square (or the GreekTheatre) is currently undergoing restoration works, as commission by theGovernmentCommitteeof theBarcelonaCityCouncil, in order to improve therainwaterdrainagesystemandthewaterproofingoftheceilingoftheHypostyleHall.SinceOctober2013theparkhasbeenregulatingtheamountofvisitorsfrom9millionto2.3millionannuallyininordertoimprovethepark’ssustainabilityandovercrowding.

Knowledge: observation of people interacting with the Parc Güell.

The Fellow spent time watching various people interact with the space. Themajoritywereoverwhelmedwithjoyandexcitementastheirvisualsenseswherestimulated by colour, line, texture, form and shape. The organic nature of theflowing lines allows the eye tomove around easily and the design entices theviewertoascendthroughthepark.Somenotableobservationsincluded:

» TheMonumentalFlightofstepsisfullofdetailssuchasgargoylelikeanimals,grottoes, a fountain in the form of a snake and the very popular dragon orsalamander.Manypeoplestoptotakephotosatthesalamander;itbeingtheemblemofCatalonia.

» Heading up towards the Hypostyle Room people tend tomove around the


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columnsandmostlylookupattheceilingthatiscoveredintrencadis,withthemedallionsbeingparticularlypopular.

» TheNatureSquare featureswindingseating thatedges thespace.Here themajorityofpeoplecongregate,takingmanyphotosontheseatstotakeintheview.Thisspaceisverymuchlikeapiazzawherepeoplewalk,chatandsitwitha senseof community.Gaudí had intended there tobepublic concerts andentertainmentonthesite.Thisoccasionallytakesplace.

» AsatIlGiardinodeiTarocchi,peopletouchthemosaicsandadmirethedetailsthoughParcGüell.However,ParcGüellislesstactileandalotofitsmosaicsareoutofreach.

» Theamountofvisitorswasmanageable,somethingthatwouldn’thavebeenthecasebeforevisitorrestrictionswereputinplaceinrecentyears.Iteasytoseehowmuchthemovementofpeoplehasimpactedthefragilenatureofthemosaicsandthewalkways.

» ItwasnotedthatsomemosaicpieceswerealsousedatCasaBatlówhichwasbuiltwhile the parkwas under construction; a surprising detail of continuitybetween the architects’ works.

Visitinglargescale,sculpturalenvironmentssuchasthedestinationsmentionedhighlightsmanyconsiderationsthatwouldneedtobeaddressedwhenundertakingsimilarprojectsinAustralia.Acquisitionoflandtohostprojectsofthisscalemaypresentconcernssurroundingsitespecifics,traditionalownership,environmentalimpact,materials, community support,useof local knowledgeand labour.TheFellowhasexploredmanyoftheseissuesthroughoutherrecommendations.

Destination 4: Master in Mosaic workshop: Roman Filati Class

(Micro mosaic). Orsoni, Cannaregio, Venice, Italy (15 – 20 May

2017).

honorary President and artistic consultant: lucio orsoni

Teacher: antonella Gallenda

TheFellowarrived inVenice tocommenceaweek long intensivecourseat theOrsoni foundry. The foundry has been in its current location since 1903. Thecompanywasfoundedin1888andthefourgenerationsofOrsonihavespecializedinmakingcolouredandgoldleafsmaltiforinteriorandexteriormosaics.Notonlydoesitsupplymosaicistsfromallovertheworld,itistheonlysupplierofgoldleafsmaltiforrestorationworkattheBasilicadiSanMarco,Venice.Thecoursewastitled‘Romanfilatimosaic’afterthetechniquesusedattheVaticanMosaicStudiothatopenedin1727.Itwasthere,towardstheendoftheeighteenthcentury,filatiandthemicromosaicwereinvented.ThistechniquethenspreadtoFlorenceandVeniceandwereusedtomakesouvenirsfortouristsontheGrandTour.

Veniceisacitymadeupofislands,canalsandbridges.ItwasfoundedbymainlandinhabitantsseekingrefugefromtheBarbariansafterthefalloftheRomanEmpirearound400A.D.Bythe latemedievalperiod itwasagreatseaportwithtradinglinkstotheMediterranean,MiddleEastandAsia.TheVenetianRepublicreignedfrom1697to1796whenNapoleoninvadedthecity.IthadmucheconomicwealthandpoliticalpowerthatproducedlavishlydecoratedByzantineandRenaissancebuildings.TheinterioroftheBasilicadiSanMarco,theprivatechurchofIlDoge,wascoveredinByzantinegoldleafmosaic,givingitashimmeringlightreflectingsurface.


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DuringtheRepublicperiod,aflourishingofglassfoundriesandproducersinthecitygaverisetothefearoffireandthedestructionof thecity’smostlywoodenbuildings. Glassmakers were ordered to move their foundries to the nearbyisland ofMurano in 1291.Great leapswheremade in these foundries as theyexperimented with new materials and techniques. Murano glassware is worldfamousforstemmedglasses,chandeliers,millefioriandjewellerybeads.

objectives: Complete the training course and use gained skills to create one4x4cmmosaicusingtheVenetiansmalti.Thecontemporarystylepiecewillbecreatedusingtraditionalmaterialsandtechniques.Comparethesewiththeskillsand knowledge gained inRavenna. Study the onsiteworkings of an operatingfoundry,itscolourlibraryandtheproductionofgoldleafsmalti.

background: The Orsoni foundry is a large spacemade up of many variousworking areas that include the studio workshop where classes are held, thefoundry,thecuttingroom,thestudioworkspaceforthemanager,administrativeoffices, showroom for thepublic,warehouseandcolour library.There isalsoabeautifulgardencourtyardandtheDomusupstairswherestudentscanstay.Theteacher,AntonellaGallenda,hasbeenwithOrsonisinceshewasseventeenandwastheassistanttoLucioOrsoniwhoisarenownedmosaicartist.ShemakesfilatijewelleryandmicromosaiconcommissionandstocksasmallamountinVenetiangiftshops.Gallendaisanexpertinpullingthefilatiandistheonlyemployeewhomakesthemtofillordersaroundtheworld.ItastoundedtheFellowtothinkshecouldorderfialti fromAustraliaandknowthatGallendawouldhandmakeeachfilatototherequestedcoloursandshapes.Thesehandpulledmaterialsthathavebeenproducedinthesamemannerforhundredsofyears,nowhavetocompetewithinferiorversionsmadebymachines.

outcomes:TheFellowdevelopedskills inanarrayofareasduring the trainingcourse,allofwhichareoutlinedindetailbelow.

skill: Micro mosaic. TheFellowmadeamicromosaicset inawooden framewithasunkenbezel.Alargerbezelallowedforeasierhandling,unlikethejewellerybezels. The Fellow selected a detail of a Kandinsky painting she had seen afew days earlier at theGalleria d’ArteModerna eContemporanea di Bergamo(GAMeC).Thisconsistedofamulti-colouredgeometriccomposition.The largersurfaceareameantalotmorefilatihadtobemade.

20. Preparing to begin the micro mosaic with selected design, pulled filati and photocopied template. Orsoni, Venice.


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21.Work in progress with modern putty used instead of traditional stucco. Orsoni, Venice.

ThefilatimakingprocessandworkingmethodwasverysimilartothetechniquestheFellowlearntinRavenna.Asaresult,theFellowfeltmoreconfidentinhandlingtheflameandpulled longerfilati.Asignificantdifferencebeing thestuccousedwasnot the traditional style. Instead,amodernsyntheticputtywasused.Thissurprised the Fellowgiven the insistence of using traditional stuccoduring thepreviouscourse.TheOrsonicourseemployedthesyntheticstuccotosavetimeand allow students to concentrate onmaking the filati andmicromosaic. TheFellowdidnotice thedifference in consistencyandmalleability of the syntheticmaterial.Thefactthatitisindustriallyproducedensuresitsavailabilityandspeedsup the drying process. The micro mosaic making method, tools and tessarecuttingprocesswerealsoverysimilar.

skill: Colour library. The library began in 1888 when the first smalti wereproduced. It isaphysicalrecordofeverycolourproducedandit isstillusedtocrosscheck thequalityof thecurrentsmaltibeingmade.Thereareover3000colourswith their tints, tonesandshadesmeticulouslyorderedandnumbered.There is a section dedicated to flesh colours that are difficult tomake due totheirchemicalcompositions.Givenherloveofcolourandthearchitectureofthebuilding,theFellowfoundthisspacefascinating.


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22. The Colour Library is a working archive. Orsoni, Venice.

skill: working foundry. There was constant movement happening in thefoundry as the companymakes the smalti, cuts them for orders, receives anddeliversgoods,projectmanagescommissionsandqualitycontrolstheirproducts.The Fellow learntmore than she expected bywatching, asking questions andlistening to theworkers interact.Asshecanspeak Italian,andcanunderstandtheVenetiandialect,shewasprivytomuchconversationbetweencolleaguesthatwasofaprofessionalnature.Atourofthefacilitywasavailablethathighlightedthepracticesofitsmanydifferentareas.Photographywasforbiddeninthefoundryasthecompanyhadinventedsomeoftheequipmentinuse.

10 InconversationwithLianaMelchior,Orsoniemployee,whilegivingatourofthecomplex.

Thefoundryfurnacesarekeptalightconstantlyat980Cwhennot inactiveuseandareonly turnedoffatChristmasandduringholidaybreaks inAugust.TheheatwasthefirstthingtheFellownoticedassheobservedthemenworkingthefurnaces. The amount of staff required to work varies depending on the task.Whentherearelargeorderstheyworkindayandnightshifts.Thepokersthatareusedtoworktheglassaremadeofsteelandveryheavyasnotedbystaff-“thatthemenworkinthefurnaceandwomenworktheincuttingroom.”10Employeesworkingtheovernightshiftheattheglassto1300C.Thehightemperatureallowsfusionof the silica, soda, opacifying substances (anti-monium) andoxide. Thisbecomesglassthatisreadytoworkwiththefollowingday.Whentheglassisstillglowing,itisremovedusingspecialtoolsandsqueezedintoslabsthrougharollermachine.Theslabsarethenput inanAnnealingfurnaceandareslowlycooledfrom500Ctoroomtemperature.Thishardeningprocessisnecessarytopreventstressduetodifferingcoolingtimesandensuringthecolourdoesnotchange.Theannealedsmaltiareeasiertocutintotessare.

After theglassslabsarecooled theygo to thecutting roomwhere thewomenuseachoppermachine.Theycutthesmaltifirstinslicesandthenintotessare.Thehand-operatedmachinewasinspiredbyAngeloOrsonianddesignedmorethan100yearsago.Thismachineallows tessare tobecutso thatno twoareexactlyalikeandappearasiftheyhavebeencutwithahammerandhardie.Thisdifferentiatesthemfromindustriallyproducedsmaltithataremadeinmouldsandlookidentical.Cuttingthesmaltiisafulltimejobandthedulltappingnoisefromthemachinescouldbeheardintheadjoiningclassroom.Thetessareareplaceddirectlyintobagsofcertainweighsthatwillbeshippedoutfororders.TheFellowcouldnotbelieve that somuchof theprocess isdoneby following traditional,hand-mademethods.She felt privileged to view this labour intensivework, anexperiencemanymosaicistswillneverhave.


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TheOrsonifoundrywasacquiredbytheTrendGroupin2003.TheTrendGroupareaPinoBisazzacompanyknownfortheproductionanddistributionofindustrialmosaicsandarebasedinthenearbycityofVicenza.TheFellowwasnotinformedaboutthefuturestrategyforthefoundryhowever,therewereknownplansforthecreationofanewcontemporarybathroomdecoratedwithtessare.

23. The foundry with large furnace emanates constant heat. Orsoni, Venice.

24. In the Cutting Room the workers use the hand-operated machines to cut the tessare. Orsoni, Venice.

skill: Gold leaf tessare. The production of gold leaf tessare is a very labourintensive process that requires multiple handling and layers of smalti. Goldleaf tessare isavailable in thirty-twodifferent shadesofcolour.TheFellowwasfortunateenoughtoobservethevariousstagesofitsproductionduringhervisit,as outlined below:

» Aglass blower blows very large bottle balloon like shapes from transparentsmalti.Theyareveryfragileandlooklikeanoblongbubble.Thesearebrokenintoaroughshapeofabout15cmsquarebythewomenfromthecuttingroomwhowearthickglovesandhittheglasswithasmallhammer.


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» Thesesquareshapesaretransportedintothecuttingroomwhereasheetofgold leaf isgentlyplacedon them.Eachsquareorpage is laidouton largewoodentraysinsinglelayersthateventuallyproduceatwenty-five-pagebook.

» Whencompletedtheyaremovedintothefoundryfurnaces.Along,castironladlescoopsouttheselectedsmaltiandplacestheliquidmaterialonthegoldleaf. The threecomponentsbecomewelded together andasgolddoesnotoxidise it remainsbrightand reflective.Theyare thenput througha roller toflattenthemandthentheannealingprocessbegins.

» Theresultisoneroundflatsmaltiwithaperfectgoldensquareinthecentre.Itcanthenbetakenintothecuttingroomwhereanemployeewillcutthesmaltiinto tessare.This isdonebyhandusingametalgrill andaglasscutter.Thetessareareimmediatelybaggedandreadyforuse.Anyoffcutsarerecycled.

25. A sheet of gold leaf being placed onto the hand blown glass. Orsoni, Venice.

26. The gold leaf smalti being hand cut into tessare. Orsoni, Venice.

Destination 5: Various museums, exhibitions, workshops and

community art projects

a) Museum of art, Ravenna. Mosaic collection, from traditional to contemporary.Themosaic collection ranged from traditional smalti mosaics to contemporaryexamples. It also included mosaics using alternative materials, for example,rubberandroughlygroundupglassbottles.ThiswasaconciserepresentationofthemosaiccommunityaroundRavennaandthemuseumisstillactivelycollectingpiecestoreflectmoderninterpretations.


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27. Omar Hassan, CAP 952, 2013, used spray can caps

28. Giorgio Tentolini, Oltre l’approdo, 2013, cardboard tessare


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b) Parco della Pace, Ravenna.Openingin1988,atthesuggestionoftheInternationalAssociationofContemporaryMosacists, this is an open-air museum combining mosaic works by artists ofdifferentnationalities includingNewZealand,Russiaand theUnitedSates.TheworksproducedusingsomeofthemostoriginaltechniquesandmaterialswerechosenbyacommissionpresidedoverbythearthistorianGiulioCarloArgan.Theunderlyingthemeispeaceandfriendshipamongpeople,apeacethat“isstronglydesiredbyallmenwhoworkandcompetetoshapecultureinallthecountriesoftheworld”Argan.

29. Edda Mally (Austria), Le Ali della Pace, 1984, sculptural mosaic

30.Claude Rahir (Belgium), Fontana, 1984, sculptural mosaic

c) Ravenna – I fiori di Ravenna: Ravenna Cittá amica delle donne. LineaRosa,avoluntaryassociationactivesince1991forthesupportanddefenseofwomen indifficultyorwhohavesufferedviolence,hasdevelopedtheproject“Ravenna, the city ofwomen”. Involving themosaicists ofRavenna, a tilewitha white background and a red calyx flower was created with the inscription:“Ravenna,acityofwomen’sfriend”.ThistilecanbeseenonthewallsofmanyhousesandisatestamenttothesensitivityofRavennatowardswomenindifficulty,aswellasasymbolofwelcomingtoallthewomenwhovisitthecity.


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31. Welcoming mosaic tiles on the front of a home supporting women’s’ safety. Ravenna. 32. Welcoming mosaic tiles on the front of a home supporting women’s’ safety. Ravenna.

d) Parma 360 art festival and la Cittá delle donne street project, Parma.Parma360 isanannualart festival that seesart installationsandsculptures inthestreets,exhibitionsingalleries,workshopsandforums.LaCittádelleDonneisalsoanoutdoorartprojectwhich locatesadvertisingplacardsandbillboardsaroundthecitycentre.EachboardcelebratesthelifeofaParmesanwomanandlistsherpersonalachievementsandthebenefitstheseprovidetothecity.

e) ettore Guatelli Museum, ozzano Taro, Parma.EttoreGuatelliwasanartist,writer, school teacher andcollector. Themuseumhouses60,000objectsinthiscollectionofeverydayutilitarianobjectsandtools.

Theobjectsreflectthehumaningenuityofcreativity,particularlythoseofthelowerclasseswho lived andworked the land. The objects are displayed in patternsthroughout Guatelli’s farmhouse, shed and garage, forming an installation ofshape,colourandtexture.Themuseumalsooffersaneducationalworkshopthatactivelyengageswiththeruralcommunityandyoungchildreninparticular.Visitingchildrenareencouragedtoplayandcreatesmallsculpturesandtoys.Someoftheartworkproducedthroughtheseworkshopsaresoldinthemuseumgiftshop.Themuseumalsohostsayear-longprogramthatincludesmusicalevents,andadisplayoftextsandpoetrywritteninresponsetothecollection.


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33. Objects, such as scissors, nails and handsaws, arranged on the shed walls at Ettore Guatelli Museum, Ozzano Taro.

d) sagrada familia, Casa Mila (la Pedrera) (1906-12) and Casa batlló (1904-6), barcelona.Since1926theyhavesuppliedsmaltiforLaSagradaFamilia(Barcelona)afterthearchitectof theCasasaw theOrsoniglass inParisduring theGreatExhibitionin 1889. The Fellowwas fortunate to see the smalti usedon the spires of theSagradaFamiliawhen inBarcelona.Theshapesstillbeingconstructed includegrapes,oranges,applesandchestnuts.

34. Grape mosaic made with Orsoni tessare. Sagrada Família, Barcelona.


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35. A detail of an exterior mosaic wall with custom made ceramics and glass. Casa Batló, Barcelona.

e) Museum of Jewellery, vicenza.The museum is directed by Alba Cappilleri with exhibition design by PatriciaUrquiolaandislocatedintheBasilicaPalladiana.ThismuseumincludesahistoricalcollectionfromtheRomanperioduntilcurrentdayandisdividedintosixsectionswhichlookatparticularaspectsofjewellery–symbol,magic,function,beauty,art,fashion,design,iconsandfuture.

OfparticularinteresttotheFellow,thecollectionprovidesoutstandingexamplesof micro mosaic rigid bracelets in gold and filigree gold with the filati tessare

measuringhalfamillimetre.MadeinRomecirca1800-1850byLuigiGallandt.Nophotos where allowed.

f) Il filo project, spilimbergo.‘The Thread’ is amosaic project initiated andmanaged bymosaicist CarolinaZanelli.DuringherFellowship,theFellowwasfortunateenoughtohavemetwithZanellianddiscusstheproject.Essentially,theprojectinvolvesacontinuouslineof mosaic that runs across houses through the town. The community basedcollaborativeprojectsee’stownresidentsandvolunteersaddtothecontinuousline in July each year. Six mosaicists assist: Lisa Battistutta, Gabriella Buzzi,LauraCarraro,DagmarFriedrich,SarahPersello,ValentinaRossi,andthevillagemunicipalityTramontidiSotto,Pordenonesponsortheevent.

‘Thismosaiclineconnectsfirstofallthehabitantsofthevillage,andwewishweweremakingthevillagenicer,withourcolors.Ofcoursetheyarefreetosayiftheywantthefiloonthewalloftheirhouse,butthefinallinewillrunalloverthevillage,guiding thevisitor toexplore thevillageand itsbeautifulhiddencorners...It isasymboliccolorfulsharedmosaicline!’CarolinaZanelli

g) s.u.v bead workshop, venice.ThisBeadmakingstudiohasbeeninoperationsincethe1920sandthebusinesshasremainedinthesamefamilyforthreegenerations.Itinvolvestraditionalbeadmakingwithsmalticane.TheFellowwasgivenaguidedtourandwaspleasedtoseebeadsbeingmadeintheworkshop,thebeadthreaderandtheshowroom.


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36. Making decorative glass beads by hand with a flame. S.U.V, Venice

37. Beads that have cooled down and still remain on the rod. S.U.V, Venice

h) la Cava dipinta e la Cava abitata, by Maestro Toni Zarpellon, Rubbio. In the mid 1970’s artist Toni Zarpellon began creating caves when a friendofferedhim theRubbiosite.Thesite ishighup in theDolomiteMountains,notaccessiblebypublictransportandisinaforestedarea.Thedisusedrockquarryinspired theMaestro topaintdirectlyon the rock formationsgiving them facesandpersonalities.Over the years he expanded theworkpainting neweditionsandsolidifyinghisconcepts.TheCavatalksofsociety,itsnegativeandisolatingaspectsof thecapitalist systemand thedamagedone tonature.Maintenanceisdonebytheartisthimself,repaintingfadedpaintandconstantlycuttingbacktheweeds.Theartworkispopularandoftenvisitedbyschools,localgroupsandtourists.At the topof thehill, aconcrete structure from thesecondworldwarholdsalogbookdocumentingthenamesandcountriesofmanyvisitors.

38. La Cava Dipinta with Maestro Zarpellon, centre, and Fellow.

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6. Considerations and Recommendations

The Fellow has considered the new skills and knowledge gained through this Fellowshipandhasidentifiedthefollowingrecommendations.

Recommendation 1 – Government Support » Supportartistsandprojectsviamorefundingacrossthefederal,stateandlocallevels.Organisationssuchas theAustraliaCouncil for theArtsandCreativeVictoriashouldincreasefundingtospecificallytargetedareas.

» Engagewithartistswhoworkintraditionalartformsandlosttradestoenablea greater understanding of their contemporary needs and leverage growingpublic interest.

» Engagewithcommunityartsworkerssothatthebenefitsgainedbysupportingcommunityviaartareclarifiedandgivenagency.

» Support artistsandcommunityorganisationsbycommissioningmorepublicprojectsandfurtherbuildavibrantexpressiveAustralianvoice.

» Fosteraculturewheretheartsareseenasavitalandintegralpartoflifethatbenefitsallcitizens.

» Foster an environment where philanthropists are encouraged to financiallysupport the funding of art works and projects that could not otherwise becreatedtherebyaddingtotheculturallifeofthecountry.

Recommendation 2 - Private sector support » Provide an alternative to government funding and offer security in times ofunsteadyfundingpatterns.

» Look to the European model of long standing association between artists,communities,galleriesandpatrons.

» Fosteranenvironmentwheresupportingaculturalorartsproject isseenasbeneficialtobothpartiesandthesociallyresponsiblethingtodo.

» Aligningthemselveswithtraditionalskillsandlarger,moreambitiousprojects,presentsorganisationsasagentsofchange.Suchsupportcanbeviewedasleavingalegacy.

Recommendation 3 - Education and Training » HigherEducationandVETartanddesignsectorstoincludemicromosaicinhistorycoursestowidenknowledgeandappreciation,andtooffermosaicasacourse/unit.

» HigherEducationandVETartanddesignsectorstoincludecommunityartinhistorycoursestowidenknowledgeandappreciation,andoffercommunityartasacourse/unit.

» Imbedsmallbusinessstudiesinallartanddesigncourses.SomeVETcoursesare already doing this.

» Provide an opportunity where individuals with the ability to build and formrelationshipsacrossdisciplinesareabletorealiseartisticoutcomesthatenvisionnewcombinationsofmaterialsandtechniques.

» Seekopportunitiestoengagestudentsandstaffincommunityartprojectstogain hands on working knowledge.

» Promoteresearchandexperimentationwithtraditionalartisanaltechniquesandskillsviaartisttalks,demonstrationsandworkshops.


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» Provide internopportunitieswithinanartist’sstudioorwithincommunityartsorganisations.

» Offershortcoursestocurrentstudentsandthewiderpublic.

Recommendation 4 - Industry and Professional Associations » Leverageontheniche,bespokeareaofjewelleryandpromoteitsawareness.

» Widenaudiencebyeducatingaboutcontemporaryjewelleryandexposeittothemanyvariedformsitmaytake(e.g.,micromosaic).

» Educatepublicaboutthelabourintensiveprocessrequiredtoproducehand-made,individualpiecesofartandthethreatthatinferiorimportspose.

» Foster interest and education in cross-disciplinary art forms to imaginepotentially new collaborations.

» Provideaforumwherebymicroandmacroprojectsandtheirpossibleoutcomescanbeexploredthroughopendialogue.

» Facilitateexhibitions,conferencesandworkshops.

» Reflectoncontemporaryworkpracticesandhowbestpracticeoutcomesmaybeachieved.

» Encouragemembers tobebrave,boldandconfidentwithprojects thatmaynot‘fitinthebox’.

» Educate the wider pubic about the general wellbeing and health outcomesachievedbycommunityengagement.

Recommendation 5 - Artists and collectives » Participate in exhibitions, forums, workshops, etc., so to keep the artscommunityvibrantandstrong,andfeelconfidentlyequippedtoactualisetheirvisions.

11 DarebinArts.2013:ActiveSpacesinDarebin.

» Monitor industry and professional associations so that contemporary anddiversevoicesarebeingheardandrelevantareasofconcernareaddressed.

» Investigatebestpracticeacrosstheworldandaimtointegrateintoownworkprocesses

SomeofthedestinationsvisitedbytheFellowoccupiedlandthatwasgiftedtoartistsorprovidedbybenefactors, indeed,this isan incrediblyrareoccurrence.TherearesomeAustralianprograms,mostlyrunbycouncilsthatprovidefreeartspacesforlimiteddurationssuchastheActiveSpacesinDarebinprogram.Theprogram“workswithrealestateagents,propertyownersandcreativebusinesstotransformareaswhichhaveanabundanceofvacantshops,graffititaggingandbillpostersintoeconomicallystimulatedandculturallychargeddestinations.”11 Yarra council isseeking todo thesameonVictoriaStreet,Richmond.Thesespacesprovideopportunities forcommunities toestablish largerscaleartprojects. Ifaproject resonateswith thecommunity, itgainsa lifeandmomentumof itsownsuch as Melbourne’s 5000 Poppies project. It is then up to the managementteamtoseekmorefundingtotaketheprojecttothenextstage,andexpandandamendthescope.Theteamneedtonetworkwiththelocalcommunity,council,stateandfederalgovernments,andphilanthropiststoensuresuccess.TheFellowrecommendsthatsimilarcommunityrelationshipsbepromotedandestablishedby arts bodies and councils Australia wide.

Changes that make it easier to facilitate larger community art projects needto come from federal and state governments and councils.Many arts bodies,communitycentresandartseducationalinstitutesareawareofthegrowingareaof community art projects and their associated benefits. Universities such theVictorianCollegeoftheArthaveCommunityArtandSocialPracticecoursesatgraduatelevelsandactivelyengagewiththewidercommunityandstakeholderstoproduceoutcomes.SomeTAFEcoursesalsoincludesimilarunits,thoughtheyarenotyetcoreunits.TheFellowrecommendsmorecoursesinvolvingcommunityartspracticesbeestablishedthroughoutalllevelsofartseducation.


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Astheartlandscapeslowlychanges,manycouncilsareembracingthebenefitsofcommunityandareofferingopportunities.Therearenowcommunityengagementofficers in some councils as well as in some progressive businesses andorganisations.Whilethestateandfederalgovernmentsareslowlyevolving,theydoneedtobeconstantlylobbiedandremindedofwhythechangeneedstohappen.Unfortunately,itisoftenthedollarvalueputtotheseoutcomesthatbureaucraciesmayfocuson.Communityartprojectshavemanyunquantifiableoutcomesthatdosavemoney in the longterm,thoughtheseabstractsdonoteasilyproduceharddata.With this inmind, the Fellow recommends further research into thebenefits of collaborative art projects to communitiesbe undertaken in order tobroadentheknowledgebaseandprovidethesebenefitstoallstakeholders.

TheNational Association of Arts (NAVA) have been lobbying government on araftof issues to improve theworkingenvironment forartistsandorganisations.This includes leadingcampaigns forchangetargetingkeydecisionmakersandresponding to government inquiries or calls for comment. They are currentlydraftinganewCodeofPracticeandadvocating forpolicychange.TheFellowrecommendsthatartistsandotherinterestedpartiessupportthisaction.

Itmustberememberedthatlargescalesocialchangecancomeaboutfromsmalllocalchanges,whichbeginswithaconversation,anemail tothe localmemberormeetingwithcouncil.MargaretMeadisquotedassaying‘Neverdoubtthatasmallgroupofthoughtful,committedcitizenscanchangetheworld;indeed,it’stheonlythingthateverhas.’12

12 QuoteInvestigator.2017.MargaretMead

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7. Acknowledgments

LailaCostawouldliketothankthefollowingindividualsandorganisationsthathavegiventheirtimeandtheirexpertisetoguideherthroughthisFellowshipprogram:

Awarding Body – International Specialised Skills Institute (ISS Institute): The ISS Institute exists to foster an aspirational, skilled and smartAustralia bycultivatingthemasteryandknowledgeoftalentedAustraliansthroughinternationalresearch Fellowships.

TheInternationalSpecialisedSkillsInstitute(ISSInstitute)isproudofitsheritage.Theorganisationwasfoundedover25yearsagobySirJamesGobboACCVOQC,formerGovernorofVictoria,toencourageinvestmentinthedevelopmentofAustralia’sspecialisedskills.ItsinternationalFellowshipprogramsupportsalargenumberofAustraliansandinternational leadersacrossabroadcross-sectionofindustriestoundertakeappliedresearchthatwillbenefiteconomicdevelopmentthroughvocationaltraining, industryinnovationandadvancement.Todate,over350Australianand internationalFellowshaveundertakenFellowshipsfacilitatedthrough ISS Institute. The program encourages mutual and shared learning,leadershipandcommunitiesofpractice.

AttheheartoftheISSInstituteareourindividualFellows.UndertheInternationalAppliedResearchFellowshipProgramtheFellowstraveloverseasandupontheirreturn,theyarerequiredtopassonwhattheyhavelearntby:

» Preparingadetailedreportfordistributiontogovernmentdepartments,industryand educational institutions

» Recommendingimprovementstoaccreditededucationalcourses

» Deliveringtrainingactivitiesincludingworkshops,conferencesandforums.

Theorganisationplaysapivotalroleincreatingvalueandopportunity,encouragingnewthinkingandearlyadoptionofideasandpractice.Byworkingwithothers,ISSInstituteinvestsinindividualswhowishtocreateanaspirational,skilledandsmartAustraliathroughinnovation,masteryandknowledgecultivation.

ForfurtherinformationonISSInstituteFellows,refertowww.issinstitute.org.au

Italian Australian Foundation Inc. – Fellowship Sponsor: TheFellowsincerelythankstheItalianAustralianFoundation(previouslyknownastheItalianServicesInstitute)forprovidingfundingsupportforthisFellowshipandtotheISSInstitute.TheItalianAustralianFoundationwasestablished,interalia,toadvancetheeducationofAustralianresidentswhoareofItaliandescent.TheFellowshipprovidestheopportunityforsuccessfulFellowstoadvancetheirskillsand knowledge. The Italian Australian Foundation and ISS Institute work with the successful recipientsupontheir return toshareandpublicise the learningsandrecommendationsfromtheirFellowshipinvestigation.

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Fellowship Supporters: TheFellowwouldliketogivespecialthanksto:

» Simona Jobbagy, Head of Department (Design,Media and ICT), SwinburneUniversity

» FionaHilary,Lecturer-MastersofArt(ArtinPublicSpaces),RoyalMelbourneInstituteofTechnology

» CarolynGuiney,ProgramLeader–Jewellery,MelbournePolytechnic

» CettaPilatti,Secretary,MosaicAssociationofAustraliaandNewZealand

» SueKent,Manager,BelgiumAvenueNeighbourhoodHouseInc.

» AliLimb,Northcity4,Co-founder

» AnnaDavern,Northcity4,Co-founder

» MaryMiceli,Manager (Design), SwinburneUniversity Department of Design,Media and ICT

» AdeleDaniele,Director,BecauseILikeYoucreativestudio

» SarahRoss,GalleryDirector,StudioIngot

» SusanMarshall,Manager,Education&StakeholderEngagementInnovationsExchangeTeam,NeighbourhoodJusticeCentre

» MargheritaAngelucci,DeputyEditor,IlGlobo

» SaraBavato,Journalist,IlGloboandLaFiamma

» MariaGraziaGismondi,SBSradio

» CarolinaZanelli,IlFiloProject,Italy

» BridgetKennedy,GalleryDirector,Gallery20/17,Sydney

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8. Abbreviations, Acronyms and Definitions.

Definitionsart nouveau – (c.1890 c. 1914)Means “NewArt”. An artisticmovement freefromhistorictraditionreflectingtheriseofindustrialisationandlookstonatureforinspiration.

bezel -abaseforfilatomosaicsjewellerysuchasabrooch,pendant,ring,smallpictureinframe,locket,etc.Bezelsareusuallymadeofmetalsofsilver,copper,gold,nickel,brass,etc.Theedgesofthebasehavearimsurroundingitsothatthemosaicisprotected.

Crucible – meltingpotmadeofsteelandabletowithstandlargeamountsofheat

filati –(thread)rodsofsmaltithataremeltedanddrawnoutextremelythin,thenclippedorcutintotinypieces.Usedinmicromosaics.

Filatorodsaremadefromsmaltiand/ormothertints.Theycanbemadeinvariousshapesandsizesandareusuallyabout50–80cmlong.Theglassrodsarecutintopieces,whicharethenplacedintothestuccowithtweezers.

hammer –atoolconsistingofapieceofmetalwithaflatendthatisfixedontotheendofalong,thin,usuallywoodenhandle,usedforhittingthings

hardie -Atoolwithasteelorironcuttingedge,ratherlikeastonemason’schisel.TheHardie is fixed intoa logandused togetherwithamosaichammer tocuttessare

Micro mosaic -Inthesemosaics,‘micro”referstothesizeofthepiecesmakingupthepicture.Thesearetinyfilamentsorfilatiofcolouredglass,endon.Theremaybeasmanyas5,000toasquareinch-givingasmuchdetailasapictureona typical computer screen.Glassmicromosaic techniquedeveloped in the18thcentury,intheVaticanMosaicWorkshopinRome,wheretheystillundertakerestoration work today.

ThemostextensivecollectionofthiskindofworkistheGilbertCollectionofmicromosaicsinLondon.

Millefiori - Akindofornamentalglassinwhichanumberofglassrodsofdifferentsizes andcolours are fused together andcut into sectionswhich form variouspatterns,typicallyembeddedincolourlesstransparentglasstomakeitemssuchasbeads,glasswaresandpaperweights.

Modernisme Catalan – was the historic period around the turn of the 20thcenturygiven toanartand literaturemovementassociatedwith thesearch forCatalannationalidentity.Itsmainformofexpressionwasinarchitecture,butmanyother artswere involvedpainting, sculpture,designand thedecorativearts forexample, cabinetmaking, carpentry, forged iron, ceramic tiles, ceramics,whichwere particularly important, especially in their role as support to architecture.Modernismewasalsoaliterarymovementthatincludedpoetry,fictionanddrama.

Mosaicist -apersonwhomakesmosaics

opus –Latintermwhichmeans‘work’.

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opus tesselatum - Latin ‘setwith small cubes’. Tesserae laid in a rectilinear,brick pattern. This technique was used for geometric designs, borders andbackgrounds.

Pizza (Pizze plural)-athinsmaltislabordiscthatismadebypressingthefusedglass on a flat surfaceor bydrawing it through twocylinders.After annealing,(controlledcooling)theslabiscutwithdiamond-pointedinstrumentsorahammerand hardie

Poker –ametalrodwithahandle,usedforproddingandstirringanopenfire

smalti –(thepluralofsmalto)arespecialisedmosaictessaremadefromcolouredglass.Originallydevelopedinforbyzantinemosaics,theglassispouredintoflatslabsthatarethenbrokenintoindividualsmaltiwithrough,irregularsurfacesthatmaybepittedwithairbubbles.

smalto – opaquecolouredglasspasteobtainedbyfusingatabout1200–1400Camixtureofvitrifyingandstabilisingsubstances,fluxandmetaloxides.

stucco –isatypeofmortarusedformakingfilatomosaic.Theoriginalmaterialsusedbyantiquemosaicistsarestillusedtoday.Itcanalsobecalled‘oilstucco’or‘oilmastic.Theingredientsarelimepowder,travertinedust(size00),rawandcookedlinseedoil.Therearemodernalternativesavailablesuchaspolymerclaysthatcomeindifferentcoloursorepoxyresins.

Tencradis –isamosaictechniquewherebysurfacesarecoveredwithsmallpiecesofbrokentilesoftentakenfromdemolitionsitesanddisusedobjects.Gaudialsosourcedthetilefromtilemanufacturerswhohadleftoversandseconds.

Tessare - The plural of “tessera”, a name given to piece used in a mosaic.Originallytesseraewerethecubesofstoneusedinancientclassicalmosaics,butnowthetermisusedforpiecesofanykindofmosaicmaterial,whethertheyareceramic,stone,pebbles,glassorsomeothersubstance.Inmicromosaicusingfilati,thetessareofsectionscutacrosstherodusuallyinheightsof5–8mm.

unesCo -UnitedNationsEducational,ScientificandCulturalOrganizationisaspecializedagencyoftheUnitedNationsbasedinParis

veT - Vocational Education and Training

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9. Reference List

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ArtsLearningFestival.IndependentSchoolsVictoria.[Online]Availableathttp://www.artslearningfestival.com.au/info/(accessed12Dec.2018)

ArtsVictoria.(2014).TheArtsRippleEffect:ValuingtheArtsinCommunities,ArtsVictoria,TheAustraliaCouncilfortheArtsandCastanet

ArtsVictoria.(2013).MakingArtWithCommunities:AWorkGuide,ArtsVictoria,VicHealth&Castanet

BarcelonaHistoryMuseum.(2013).ParkGuëll,VisittotheMonumentalZone,Firstedition,BarcelonadeServisMunicipals

Campbell,R.,Murray,C.,Brennan,S.Pettit,J.(2017).S2M:TheeconomicsofAustralia’ssmall-to-mediumvisualartssector.NationalAssociationfortheVisual Arts

DarebinArts.(2013):ActiveSpacesinDarebin.[Online]Availableathttp://www.darebinarts.com.au/creative-resources/active-spaces-in-darebin(accessed4Jan.2018)

DellaVedova,E.(2008).TheMosaic:fromCopytotheInterpretation,TechnicalManualoftheScuolaMosaicistidelFriuli

deSaintPhalle,N.(1997).TheTarotGarden,BenteliVerlagsAG,Berne

DipartimentoEducazioneCastellodiRivoliMuseod’ArteContemporanea(2017).Abi-tanti.TheMigratingMultitude2000-17.[Online]Availableathttp://www.castellodirivoli.org/en/educazione/progetti-speciali/abi-tanti-la-moltitudine-migrante(accessedon12Dec.2018)

EncyclopaediaBritannica.2019.VeniceItaly.Foot,J,Cessi,RandCosgrove,D.E.[Online]Availableathttp://www.britannica.com/place/Venice(accessed4Jan2018)

IlGiardinodeiTarocchi.2019.TheTarotGarden.[Online]Availableathttp://www.ilgiardinodeitarocchi.it(accessed30Dec.2017)

Janson,H.W.,(1977).AHistoryofArt,ThamesandHudson,London,pg.705

QuoteInvestigator.(2017).MargaretMead.[Online]Availableathttps://quoteinvestigator.com/category/margaret-mead/(accessed12Dec.2018)

NationalAssociationfortheVisualArts.(2018).Advocacy.[Online]Availableathttp://www.visualarts.net.au/advocacy(accessed4Jan.2018)

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RavennaWomen’sFriendlyCity.Matitegiovanotte.biz&Intera.[Online]Availableat:http://www.womenfriendlycity.org/project//#history

RocaiAlbert,J.Freixa,M.andLeniz,M.MuseuD’HistoriadeBarcelona.[Online]Availableathttp://www.parcguëll.cat(accessedon2Jan2018)

TrendGroup.[Online]Availableathttp://www.trend-group.com(accessed4Jan.2018)

Vantaggi,R.(1985).RavennaeisuoiTesoriD’Arte,PlurigrafNarni–Terni

VicHealth(2003updated2014),CreativeConnections:PromotingMentalHealthandWellbeingthroughCommunityArtsParticipation.[Online]Availableathttps://www.vichealth.vic.gov.au/media-and-resources/publications/creative-connections.(accessed30Dec.2017)

Vichealth,EffectiveChangeLtd.(2003),PartnershipResourceforCommunityArts.[Online]Availableathttp://Partnership_Resource_for_Community_Arts.pdf.(accessed30Dec.2017)

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MICRO MOSAICS TO MACRO MOSAICS - issinstitute.org.au · Parc Guëll was the prime influencefor artist Niki de Saint Phalle who envisioned and created her own mosaic sculpture garden,