Providence Living

created by sandra groeneveld

Object: Providence Living at Maitland Commission

Materials: Vitreous tile on Panels

Dimensions: Two panels, each 4 x 5 feet

Method: Direct and Indirect (using clear tile tape)

This mosaic project was part of a renovation. The building, previously a school, was retrofitted into a memory care community. The new facility is bright and filled with artwork, much of it a nod to the history of the building. It was a pleasure being asked to create mosaics to adorn the grand entry.

A Tree of Life, water and sun rays (element in the community's logo) were requested. Since the two “windows” for the mosaics are not close together, splitting one image was not ideal and a lost opportunity in making a unified impact. Instead the windows were connected thematically. On one side is the tree, connecting the two panels, is water. Another connecting element is the Bluebird, the one on the right flying home to its mate resting in the tree. The bold pattern of radiating rays of light serves as the third element on the right panel (bird, water, rays).

I used a variety of sizes and flow of tile to reinforce the design elements. Even solid colored areas were made compelling by how the individual tiles were placed. Since the mosaic is outside, the use of some iridescent tiles was a must. As you walk past, they catch the light differently than their neighbor of the same color but without the iridescence. Just as does salt in cooking, a subtle sprinkling of these glinting tiles makes an enormous difference in its overall effect. This enhancement was also used within the tree trunk, branches and border, to suggest a flowing life force.

My designs always make sure there is a compelling composition that reads from a distance, but up close, your eyes are led around by the flow of tiles and smaller detailed elements. Always something to see, no matter your proximity.

Images

01 Tree of Life and Sun panels

02 Design Mock-up

03 Tree of Life panel

04 Sun panel

05 Approved design illustrations

06 The Tree of Life panel in particular used many laying patterns for the tesserae: each selected to support the element's characteristics.

07 All tiles started out as 3/4" machined squares. Only a few tiles, for effect, were left untouched in the panels' borders.

08 The sprinkles of color, indicating life, flowed through the branches into border.

09 The sun rays where enhanced with a sprinkling of iridescent tiles, which flooded the border as well. Light sparkles as you walk by.

Process

10 Selection of the colors to match the design commences.

11 Sample boards, jars of colors: all join the party to find the perfect mix.

12 While waiting for the ordered tiles to be delivered, I started with creating the unifying water blend with materials I had on hand.

13 The tesserae were cut in half and laid in staggered rows. The blues tiles used are variegated which adds a liveliness to the mix.

14 WEDI substrate, framed in aluminum in 4x5 foot panels.

15 Substrate skim coated and ready for mosaic tiles.

16 The Bluebird was created separately on tile tape. Seeing the work against a black background is a great way to judge the andamento.
Note: I don't bother with color correction on these photos: the image on the right is a accurate color representation.

17 The drawing of the circles has notations indicating where darks and lights need to go to match the design.

18 The large drawing is unrolled as the work progresses.

19 The sun beams are created by grout lines as well as a different color mix ratio.

20 The Bluebird is added. Note the circles are not perfectly centered, they follow the hand drawn looseness of the original design.

21 As an area is completed, it is cut up into manageable sections, and the drawing is unrolled further in order to start on the next area.

22 Cut up sections are carefully stacked for easy storage

23 Dry-fitting the sections of mosaic. The substrate is marked to make sure the border is equal on all sides. The tile tape is marked to make sure all edges line up properly when later adhering the mosaic with mortar.

24 The intersection of four pieces after mortaring. White mortar was used to keep any of the semi translucent tiles bright.

25 Sliding a black sheet of paper under the tile tape helped me double check my work with the andamento.

26 The Tree of Life panel was worked on first. It was a big mistake to have the drawing on white paper, a medium value works much better.

27 Dry fitting the tree sections on the substrate. The blurry dull aspect is caused by the tile tape which you have to look through at this point.

28 When removing the dryf-itted areas, I mark the substrate to help the reassembly during the mortaring stage.

29 Border strips are pre-made on tile tape. More careful selection of colors is used where sun rays or branch tip intersect the border.

30 The border always keeps in mind the adjacent elements: more greens by the tree for instance, more bright values by the sun rays.

31 Pockets are cut out of the WEDI to allow for the anchor points. The WEDI plugs will be returned to seal of the holes once the panels are installed with stainless steel screws & washers.