Mosaics: Bringing Art out of the gallery and into the Subway

Mosaics: Bringing Art out of the gallery and into the Subway

By Melissa Bardsley

Our daily commute here in Maine is filled with scenic views of trees, bodies of water, and the occasional wildlife. We take these picturesque commutes for granted and forget that for a large part of the country their commute includes riding in public transportation which includes underground subways with no view. Some artists in New York City are looking to change that with their mosaic installations that are transforming utilitarian based spaces into a public works of art. Here are four examples of mosaic works in New York subway stations that might be able to persuade one to give up their picturesque commute for public transportation.

Delancey St – Essex St – Mosaic Created by Ming Fey

Fey Created watercolor sketches that were inspired by the marketplace that resides overhead that has been brought to life in this extensive glass tile mosaic.

Yankees – E. 153rd St – Mosaic Created by Ellen Harvey

            Harvey created an 11 panel mosaic inspired by photos and watercolor paintings of the south facing Bronx sky. The glass tiles replicate the transitional and iridescent quality of the sky as it progresses from a cloud filled day to star lit night.

34th St- Hudson Yards – Mosaic Created by Xenobia Bailey

            Bailey is traditionally a fiber artist focusing in mediums of crochet and textiles. Her designs are rich with colors and mandala like repetition.

Second Ave – Mosaics by Jean Shin, Vik Muniz, Chuck Close, and Sarah Sze

            Shin was inspired by archival photos of the Second and Third Ave elevated trains and replicated photos from when they were in operation.

Muniz has created over three dozen brightly colored portraits of New Yorkers in a collection titled ‘Perfect Strangers’.

Close created ten portraits of well-known subjects for the project part of a series titles ‘Subway Portraits’

            Sze’s mosaic spans a whopping 14,000 sq feet depicting sheets of paper, scaffolding, birds, trees, and foliage with interactions referencing energy fields and wind patterns.

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MOSAICS—FULL SPEED AHEAD

In this world of immediate gratification and just in general never having enough time, it is great to find something that will speed up a process.  In our Glass Academy, we were thrilled when we found this product.  It enables us to have a class where we can do a mosaic from start to finish in one sitting without being frustrated with the glass moving around because the glue has not set up yet.

This little miracle product is No Days Mosaic Adhesive and Mesh.

For an overview, watch this:

https://www.youtube.com/watch?v=oreV4CFfRt8&index=1&list=PL7EBF342B0C7DF5EA

 

We have these products on our website.  Note the Mosaic adhesive is available in white, black and pewter.  Links to each are below.

http://www.stainedglassexpress.com/no-days-groutless-mosaic-adhesive.html

http://www.stainedglassexpress.com/no-days-groutless-mosaic-adhesive-black.html

http://www.stainedglassexpress.com/no-days-groutless-mosaic-adhesive-pewter.html

http://www.stainedglassexpress.com/no-days-mosaic-mesh-sheet-12-x-48.html

 

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BORN IN FIRE—FUELED BY IMAGINATION

BORN IN FIRE—FUELED BY IMAGINATION

The Transformation and Rebirth of Uroboros Glass

This just could not be more exciting.  Last May when the Glass almost died and a lot of thought it had, was a real time of scrambling around to keep glass on the shelves.  Now the anticipation of a steady supply chain is just so uplifting!

The Uroboros image of the dragon consuming its own tale is a symbol of nature’s infinite cycle.  One thing ending and another beginning.

So here we go!!!

https://vimeo.com/223705522

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Tips from the Glass Academy: PRIMING MOLDS

Molds must be primed and it is more complicated than ever.  There are primers for steel molds and primers for textured molds.  It is important that you know what you are using and that you use the right thing.  Expense works into this also.  Some are quite expensive.

Always wear a mask and read the directions carefully.

When using a spray can always hold the can vertically, ten to twelve inches from the mold.

 

Primo Primer

Click here to purchase Primo Primer

For shelf and molds.  Lasts for multiple firings.  Can be used with some casting molds including Colour de Verre casting molds.  This is a powder that must be mixed with water.

 

Hi-Fire Shelf Primer

Click here to purchase Hi-Fire Shelf Primer

Designed for higher temperatures for raking and as a coating for mandrels for bead making.

 

Slide Hi-Temp 1800

Click here to purchase Slide Hi-Temp 1800

This is made with Boron Nitride.  Idea for stainless steel molds.  NOT recommended for casting or ceramic molds.  This is an aerosol so it is very easy to use.  There is no need to preheat the metal mold before applying.  This is NOT recommended for Creative Paradise molds

 

ZYP

Click here to purchase ZYP

This can go up to 1800 degrees F.  With the stainless steel and ceramic mold.  This is the one to use with intricately detailed molds that Colour de Verre and Creative Paradise puts out. This spray results in superior casings.  No spurs or sharp edges and leaves a beautiful shiny surface.

 

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Tips from the Glass Academy: How To Cut Murrini Without Having Flying Glass

How To Cut Murrini Without Having Flying Glass

This great idea comes from Glacial Art Glass

Clip-weeeww-clatter-roll…

How do you cut murrini without hearing these sounds? The very simple method you are about to learn will show you how to:

  • Cut murrini without chasing your glass slices across the room.
  • Avoid breathing the dust created when cutting.
  • Keep all those tiny shards and chips of glass from getting everywhere.
  • Have your cane and cutting tool clearly visible and freely mobile so that you can get consistently good quality murrini slices.

Note that this method is very cheap, easy to set up, and can be used to cut other small pieces of glass with a pair of mosaic cutters or ceramic tile nippers.

Here we go:
You’ll need a few things besides your murrine cane and cutters.

– A cheap snap and seal plastic baggie.
– 4 Safety pins or Binder clips.
– Scissors

 

When it comes to plastic bags, go for the cheapest, thinnest sandwich bags, at about 6 ½ inches by 5 7/8 inches. Of course, whatever you have on hand will probably work, but the cheap sandwich bags are the right size, and thinner plastic (think generic store-brand vs. the sturdier ziplock brand) seems to stay clear longer. Over time any bag will lose clarity due to dust, abrasions, and wrinkles, so that you will unfortunately have to throw them away and start with a new one occasionally. But you can cut a lot of murrini with just one bag.

Step one: Put the cutting end of your tool into the bag, with the handles sticking out, and seal the bag around the handles. It’s not necessary to get a complete seal, just try to keep the two sides of the bag lined up to reduce gaps. You don’t need a lot of the tool in the bag, it’s more important to keep as much of the handles sticking out as possible.

Step two: Secure the seal, including between the handles, with safety pins or binder clips. If you are using safety pins, run each pin along the edge of the bag, not perpendicular to it. Binder clips need to be sufficiently small that they don’t impede the cutting motion. The one securing the section between handles is most likely to get in the way, so opt for the smallest one you can get here. While cutting you’ll notice that there is still a slight gap around each handle. This is fine as long as murrine slices wont readily work out of the bag.

Step three: Cut a slit in the bag where you will need to insert the murrine cane. Cut a corner off the bag from where you will be able to pour your slices out. You will have more control over short pieces of murrine cane or other small pieces of glass if you can hold them with your fingers directly, even though they might not be protruding from the bag. The most effective way to enable this is to make the holes big enough to fit a forefinger and thumb through with the glass.

A few final tips:
While cutting, keep the corner hole clipped or pinned shut. If murrini slices begin to get in the way of the cutting tool movement, shake them into the corner, away from the tool.  When you get ready to pour the murrine out of the bag, dust, though you may not see it, will be coming out too. Take care not to breath this in.

This great idea comes from Glacial Art Glass

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WHAT THE HECK IS A BAGHOUSE!!!

Since February of 2016 we have been hearing the term Baghouse.  It started with Oregon’s Department of Environmental Quality shutting down several colors (which represent several chemicals) because they were polluting.  This first shutdown was at Bullseye Glass Manufacturing plant in Oregon.

Bullseye has since installed several Baghouse pollution controls on their furnaces. 

By October of 2016 they had 18 installed at a significant cost which we have seen passed down in the cost of glass.  The cost from Blogtown written by Daniel Frobes says it is between $500,000 and $1,200,000.  I think what they are saying is $100,000 per baghouse!

From the issue with Bullseye all the major manufacturers of art sheet glass and rods were investigated by the EPA.   We saw all opal reds, yellow, orange, green and some black disappear from production.

Bullseye installed their baghouses and resumed production.  Uroboros decided not to continue because of the large investment required and the age of the owner.  They have since been sold to Oceanside Glass & Tile but manufacturing has not resumed yet.

Spectrum already had a baghouse equipment on its primary color furnaces.  Below is a picture of it.  As you can see, it is no small deal!  The basic operation is:

  1. Furnace exhaust enters the baghouse via a system of ductwork.
  2. The exhaust travels through a series of filtering bags within the structure to filter out particulates. The particulates are then knocked off the bags by compressed air-pulsed jets.  It falls down the hopper and collected in a sack.  The filtered air is then released through an exhaust duct.

The lower portion of the structure contains the collector sack.  The “super sack” is disposed of by a certified waste-services company.

Even though Spectrum already had this technology in place they were operating in a plant that was at 40% capacity and not doing financially well because of that.  They decided that with increased testing and reporting requirements that they did not want to continue.  They too have been sold to Oceanside and we believe at this point, manufacturing testing is going on and we will see Spectrum glass hit the warehouses once again this summer.

Oceanside has also installed baghouse technology.

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A COUPLE OF DUH! MOMENTS

I was just reading that you can tell which tip has the smallest opening by looking at the number of rings on it! So no more straining your eyes to pick out the smallest tip in your collection to dispense glue. Keep them in line for storage and easy, easy!

Another aha moment we had in the store several years ago is  . . . . . Wait for it

 

The lid color of frit jars! Black for 90 Coe and white for 96 Coe. How clever is that. If you use both coes that is the end of confusion. You don’t even have to read the label! If a supplier does a mix up it should jump out at you because it will stand out when you add it to your collection.

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Top 75 Glass Art Blogs Winners

We have been voted #14 best blog out of The Best Glass Art blogs from thousands of top Glass Art blogs through SpeedSpot.com using search and social metrics.

The blogs are ranked based on following criteria:

  • Google reputation and Google search ranking
  • Influence and popularity on Facebook, twitter and other social media sites
  • Quality and consistency of posts.
  • Feedspot’s editorial team and expert review
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Exciting News from Oceanside Glass Tile!

THIS FROM OCEANSIDE GLASS!! –Very exciting news!

photo from https://www.facebook.com/OceansideGlasstile

                                                     photo from https://www.facebook.com/OceansideGlasstile

https://www.youtube.com/watch?v=NAql6byM5PI to see the first sheets coming off the lehr and being packed up for distribution!  The announcement that Spectrum was closing was on May 11, 2016.  It was a very bleak day.  This is the BEST!!!

June 6, 2017 Tijuana, Baja California, Mexico Oceanside Glass & Tile – Spectrum production commences. The elation of witnessing the first ribbon flow through the forming rollers felt (almost) like the birth of a child. The awe, the powerful presence of something new in the face of serious sacrifice. A pulse, a deep breath, and the moment became a weightless miracle as the glass began its journey through the lehr. Now don’t get us wrong, a human birth certainly bears more significance, and our very own Brandon Byhre (long time Spectrum employee), Vice President of Glass Technology, celebrated the birth of his first daughter with his wife just hours before production began. A truly auspicious time for all our family at Oceanside Glass & Tile. For those of you in the Art Glass Community who have been patiently waiting for this next chapter of Spectrum production, we formally announce the inaugural roll at OGT. It’s hard to believe it was just over a year ago in May 2016 (391 days to be exact), when the Spectrum announcement shocked us all. It immediately presented a significant challenge to the entire art glass community and seemed like a potential end to a major supplier. Today, it is hard to imagine a better outcome for distributors and artists alike. The owners of Spectrum have provided tremendous resources, guidance and leadership to make sure that their legacy is left in good hands. Craig and Kyle Barker have remained completely committed to seeing the transition through to the best possible future. This new era of Spectrum Glass production in Mexico is the culmination of optimistic spirits accepting a rather massive challenge and a testament to the incredible power of team work. The entire group from both Spectrum and OGT worked tirelessly for months to bring the production line to fruition. From training and decommissioning the systems to seventy truckloads of equipment, building out the infrastructure and implementing production took a dream team of glass makers who kicked some serious glass! It is humbling to experience the dedication and downright tenacity it took to pull off the project in this timeframe (by coincidence the same as human gestation). If this were a “Thank You” speech it would take hours, but there are some key individuals that deserve recognition, big hugs, high fives and a round on the house. From the first day OGT employees set foot in Woodinville, WA, Spectrum friends embraced them with a willingness to share, teach and mentor their OGT counterparts. The relationships and resulting cooperation has exceeded all expectations, and we deeply thank the entire team that welcomed OGT and opened the door to this possibility. We value your support and are so grateful for your friendship. In no particular order…Brandon Byhre, Dean Granberg, Rich Rushing, Greg Boxford, Jesus Rios, Randy Hamel, Scandia Wood, Walt Nelson… These glass makers have over 100 years of combined experience, and they brought every bit of that knowledge to OGT. The operations team at Oceanside Glass & Tile graciously accepts the responsibility for continuing to produce the highest quality glass in the world. We’re extremely excited about the coming months as we ramp up production capacity. This is an awesome beginning to the next chapter in art glass.

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FRIT CEREMONY!

FRIT CEREMONY!

We have all seen unity ceremonies at weddings.  The bride and groom each take a candle and together light a single candle.  A colored sand ceremony where two different colored sands are put into a single container.   Another is two colored waters merged into a container to make a different color.  There are ones done with flowers and on and on.

Here is a new one.  A frit ceremony.  The bride and groom choose 2 to 4 different colors of frit and combine them in a single container.  The very original part of this ceremony is that later the bride and groom return to the glass studio with their wedding frit and create a wedding or anniversary masterpiece.

 

Info from “the underground”.

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