Ancient Roman technique
My passion is to create new, exctiting and unique mosaic art - drawing on the themes of the past, in this recently rediscovered mediumá╗
I am fascinated by beauty, by the unusual, by true artistry. Having 6 artists and a professional inventor in my immediate family meant peer pressure. Each of us in the younger generation tried to find his or her own sphere. With no formal training, I was a traditional painter at the age of 17, but soon became tempted to explore transparency. I had a book on the "Techniques of the Old Masters" which described how they painted collar "ruffs" by building up layer upon layer of clear varnish. This inspired me to use plastic and glass in laminated layers to build up my own 3-dimensional transparent effect.
When Geometric Art was all the rage I tried to express my feeling for the human body fragmented in abstracted pieces that I called "people art." Directly I had wedded this "people op" to my interest in transparency, I began to be offered shows. Big shows. In private museums, Paris' Grand Palais, architectural studios. Paris, Brussels, New York, Rome, Florence. Mosaics came as a natural progression from the fragmentation, and the fragmentation came naturally from geometric art.My mosaic teacher, after a period of student-teacher relationship, asked me to become his artistic partner. We then harnessed transparency to fragmentation and mosaics. My input was floating the mosaics in layers of molten lucite which, when hardened, gave an effect never produced before. Mosaics, glass or marble, make a constant learning curve where the unpredictable happens every day. One has to be flexible and not easily rattled -- both difficult when one is an artist and dealing with one's own works. While my varied changes of medium seemed arbitrary at the time -- which worried me -- looking back on my life I realize that each stage was a prelude and a learning process leading to the next.
Vanessa Somers Vreeland