I scheduled some community projects over summer 2023, so I've been doing a lot of public events with community engagement. During these events, the public is invited to set glass tiles into a design. Families are the most common participants and it's very interesting for me to watch how kids interact with the activity. Some kids come by and set tiles randomly throughout the mosaic, with no attention to placement. Occasionally, a kid actually starts dismantling the mosaic, removing pieces and putting them back into their respective containers - this is always a hard one to respond to. I would estimate one in 10 kids is a natural mosaic artist. I can tell because they focus in on the process. They look at the patterns that are already in progress, and they build on them. They don't want to leave, even if the rest of the family is ready to move on.

I have some great conversations with the kids, and also with their parents. I love when a parent is obviously beaming with pride that their child loves art. This parent will tell me all about the child's propensity for creativity, what mediums they are drawn to and what their favorite colors are. But I've had a common experience with parents who tell me about their child's creative proclivities with some trepidation. They will say that their child often says they want to be an artist when they grow up, but the parent advises them to pursue another skill; something more lucrative. I will gleefully tell children that art can be a job. I say, "This is my JOB!" Very often, I see the parent looking uncomfortable. It's as if I suggested a career in pole dancing. They will say, "I like to encourage her to find another skill she could do for income, because she can always make art. She can make art for fun." And I, being naturally oblivious to social cues, will reiterate: OR you can be an artist like me! I'm an artist, and this is my job!

Here's the thing: As a young person, I knew I wanted to be an artist. But I NEVER thought it was a viable career choice. I was always trying to imagine what I could do for a living that would not drain me spiritually and emotionally. I thought maybe I could be an interior designer, a make-up artist, a fashion designer, a florist. In college, I was interested in cultural studies, so I thought I might pursue a graduate degree, become a professor, and make art my hobby. After my undergrad degree was finished, I couldn't afford to go back to school, so I went into social work, but I found that my energy was completely drained by it. I was too sensitive. I negotiated a 4-day work week so that I could spend some time unwinding with creative projects. It wasn't until I was a new mom in my early 30s trying to find a way to be available for my toddler while earning enough to keep the bills paid that I started pursuing art as a business. I was desperate, and people wanted to buy the things I made. So, I finally put my energy and time into creating. The more I focused on making, the better I got at it, and it slowly turned into a real, sustainable enterprise. Two decades later, I am booked solid and my current challenge is how to slow my roll and not put excess stress on my body and my family.

What I've been thinking about lately is this: What if I had been encouraged to pursue a career in art from an early age? It's impossible to know for sure, but I might have identified and cultivated my skills at a much earlier age. Rather than struggling to find a job that I could tolerate in my twenties, I might have made a job in the arts a goal from the beginning, and found my calling much earlier. It might also be the case that my trajectory was exactly what it needed to be in order to get to the here and now. But I think there are some unfortunate misconceptions around the idea of making a living from artistic pursuits and people have extremely limited notions of what that can look like. One of my friends is so talented and versatile, she does interior design, web design, theater design, illustration, murals. She designs the labels for a Seattle distillery. She's also extremely busy and is working on scaling back to reduce her workload. Art is everywhere and we need artists to think outside the box and make life more fun and interesting. I have no fear of AI taking over my job because it will never be able to fabricate an exquisite stained glass mosaic or lead a community art project. So, don't be afraid to encourage your kids to develop their creativity, and let them know that "Artist" can be a great career choice. They just need to focus, work hard, and develop their skills.

Finding your artistic voice, part 1 of 4.

 I’ve had numerous requests for a workshop about designing for mosaic. Often, students in my classes mention that they hope to get some insight about how to work in my specific style. To be honest, I have no idea how to teach my own style without just giving you my drawings, and I’m not even sure that would be in my best interest as a self-employed artist. However, I’ve thought about trying to develop a workshop around honing your own mosaic style, and since my spring workshops are postponed and we are all stuck at home, I thought it might be worth writing out some thoughts.

Early self portrait, circa 1992-94

I was already a practicing crafter/artist before I discovered mosaic. I had experimented with nearly every creative process, and I even sold my work in a number of mediums. I was always artistic. I can’t remember a time in my life that I didn’t spend daily time drawing, and I grew up studying my world in terms of how one might render it; how the light hits an object and casts shadows, how a person’s face changes with different expressions, and how to make pictures from cast-off materials like candy wrappers and scrap paper. My mom was an art minor in college while I was a child, and I watched her painting and sculpting, eagerly gleaning whatever I could secondhand.

The Significance of the Metamorphosis Community Mosaic Mural

 As I've been applying for grants, seeking donations and promoting the Metamorphosis mural project, I've been describing the theme and message as a celebration of diversity and inclusivity, personal and societal transformation, and of individuals becoming their most authentic selves.

That's the nutshell version. Yesterday, I was asked to further elucidate the message of the project for someone interested in organizing a group butterfly-making event. I've been trying to organize the miasma of my thoughts on the subject, but I find it impossible to condense it into one clear statement.

This is in large part because I do not believe in hitting people over the head with art, especially community-based projects. I feel it is my job to amplify the voices of the participants, and to do my best to include marginalized perspectives. This is not a project that was commissioned by an entity to make a particular statement; it is a grass roots project that I felt motivated to offer my community. 

A mock-up of the mural concept on the wall at 425 4th Ave. Olympia, WA

The foundation of the concept is rooted in my conviction that a diverse society is stronger, richer and more fun than homogeneity. When we embrace each other's differences, we all benefit from the unique strengths that we collectively bring to the table. In the current climate of culture war, I am gravely concerned for the safety and well-being of my LGBTQIA, BIPOC, and Jewish friends and family. 

It is not my place to position myself as a spokesperson for any of the above-mentioned groups. My hope is to include as many voices as possible of those who are marginalized and those who support them in a message of solidarity.

An early sketch of the central figure, showing a nondescript figure emerging from a chrysalis, proudly spreading their new, colorful wings.

My design features a central figure that is humanoid, rising up from a chrysalis, spreading brightly colored butterfly wings. The person is is not flesh-toned and non-gendered and is meant to be a holding place for visitors who will have their picture taken in front of the mural. The actual figure is being rendered in mirror with any features being subtle suggestions. My hope is that the viewer will see themselves reflected back. It represents personal transformation: becoming our most authentic selves.

Freedom of Expression is an important foundation of American values, and it is currently under attack. How and whom we love, how we dress, how we perform - as long as we are not harming or inhibiting others, it is no one's business. 

That sums up the foundation of my intention when designing this mural. But I also feel the butterfly symbolizes more metaphors that are relevant to current events. For instance, for Mexican culture, the butterfly/mariposa is believed to be the spirit of ancestors coming to visit. This is reinforced by the timing of the annual Monarch migration, when swarms of Monarchs return to Central Mexico near the Dia de los Muertos/Day of the Dead holiday. My spouse is half-Mexican and we have traveled quite a bit throughout central and southern MX. 

That's my kid at a Monarch Sanctuary in Michoacan during the 2016 migration.

All of the giant clusters hanging from the trees are masses of butterflies!

The butterfly (usually a Monarch) is a ubiquitous symbol in Mexico and for Mexican Americans, representing the act of migration. Immigration policies in the U.S. are extremely problematic, and the results are devastating. It is impossible for me to facilitate this mural without acknowledging this layer of meaning and metaphor.

The significance of the butterfly for the Indigenous community is connected to that of Mexican tradition by nature, in that this continent was originally inhabited by Native people, without a dividing line where one stopped and the other began. For Pacific NW tribes, the butterfly is an important part of storytelling; a character representing transformation, metamorphosis, beauty, balance, and grace. The butterfly is often depicted in Pacific Northwest Coast Native mythology as the companion, scout and spokesperson for the raven. Some of my closest friends (more like family) are part of that community, and I know how important the butterfly symbol is to Diva (member of the Kuruk tribe/Polynesian, but raised Skokomish and a gifted Native storyteller.) Diva is a treasured member of our chosen family, so I can't facilitate this mural without recognizing that connection.

That sums up my own personal thoughts on the message in this mural, but I feel strongly that everyone should bring their relationship with the butterfly symbol to the project. I hope it will resonate with people near and far, instilling a sense of shared experience and mutual support.

A participant.

Priscilla and Em with Christi on the right.

Christi helping a young participant.

The big wings on my deck.

One of many butterflies already received.

Another butterfly from Joan Pliska.

Transition and Transformation

I officially launched my art business back in 2007 after taking a 3-month business class from Enterprise for Equity, a local organization that helps low-income people become entrepreneurs. At the time, my business was called Cosmic Blue Monkey Designs and the focus was on recycled art. I used gleaned materials to make new arts and crafts of all kinds and I sold them at recycled art fairs, bazaars and at Matter! Gallery, which sold only artwork made from reclaimed components. E4E students graduate from the program with a business plan, and my goal at the time was to earn $500/month. We were living on just one (teacher) income while our daughter was little and $500 was about how much more we needed to cover expenses. At the end of 2007, I had earned exactly $500/month. 

My first studio sign.

And naturally, my aspirations began to increase. I sought more business coaching, took business workshops focused on art/craft, and by 2010 I decided to pursue site-specific mosaic (where it is installed permanently in an architectural setting) for homes, businesses and public spaces. Feedback I had received suggested that I needed to re-brand. The whimsical name, which I loved, wasn't taken seriously by high-end clients, designers and architects. It was recommended to come up with something simple that referenced my own name and would be easy to remember. I went with JK Mosaic.

From there, I slowly increased my level of professionalism, building my portfolio, becoming an LLC, getting business insurance, setting up wholesale accounts, and becoming a licensed and bonded contractor. There were a lot of growing pains over the years, and income was very unreliable for most of the ensuing years. But I was relentless and never gave up, and my business steadily grew into the vision I had created in 2010. By 2020, I had installed mosaic art throughout the U.S., I was often booked for months out, and I was getting more public art projects. 

That's me on the scaffolding in Alpharetta, GA in 2014. 

Now it is 2023 and I've been working really hard for several years in a row. The work has been good, well-paid and exciting. But I feel another shift coming. I'm 53 now, I have osteoarthritis in my hands, shoulder impingement and rotator cuff issues. I don't have a team to help with installations, which are extremely intense. Everything is labor intensive and time-sensitive, so I often work for 11+ hours per day on an install without stopping for several days. I have to haul all of my supplies: ladders, scaffolds, art panels, 5-gallon buckets of water, 50 lb bags of thinset/grout. These get packed into my vehicle, unpacked on site and usually hauled across long distances because I can never drive them up to the spot I'm installing. On the last job, I entered the fenced construction site on one side of a city block and had to navigate through the building, up stairs and ramps, and around to the opposite side with my supplies. And I had to put everything away every night. Midway through an install, I usually find myself in the hotel room with numb, tingling hands, aching body, utterly exhausted, and I've had crippling back pain. Several installations had to be followed by months of physical therapy. 

That all sounds so miserable when I type it out, but I really love the outcome and I feel so lucky to be able to do this type of work. During the process, I wonder what I was thinking and why do I keep doing this, but then I see the finished product and it's such a thrill. It's an addiction!

That's me on a ladder on scaffolding installing a mosaic for L'Occitane in the Dallas Fort Worth Airport in 2015.

This winter, I began to think about setting new goals as I grow older. Before I know it, I'll be in my 60s and I want to be able to keep working, but in a different capacity. Going forward, I am going to slow down with commission work, being more selective and strategic with the projects I agree to create. I'll prioritize those projects where the contractor will do the install, or there's enough budget to hire a skilled installer. My main April project is going to be fabricated here, shipped to the job site, and installed by someone else in Nantucket, MA. That's perfect. 

I'm really aching to nurture my own creative inspiration. For many years, I felt that commissions were ideal for me because I'm inspired by the spaces and clients I work with, and like an art prompt, I often find it easier to develop a design based on someone else's needs. But lately, I've been feeling called to explore my own creative voice on a deeper level. I want to paint sometimes and work in mixed media, and I have some personal topics I feel an urgent need to delve into with my art. I feel like I've been floating on top of the ocean, barely looking below the surface, and it's time to put on the diving gear and find out what's down there. 

This is a Thai fishing boat and was the best pic I had of the surface of the ocean to help break up all the text.

By the way, I'm scared of swimming in large bodies of water on a phobic level. So the analogy works really well to describe how I feel about this next phase.

My hope is that I'll be able to continue earning enough income while pursuing my own creative projects, teaching others, and leading community projects. I'm not switching cold turkey, but I plan to schedule more time between commissions from now on and I'll see how things go. So often, we make a plan, but something unexpected comes along and the path leads into uncharted territory. 

In the interest of manifesting this new approach, I should remind you that I have five online courses through Mosaic Arts Online and I'm teaching at the SAMA/SGAA conference in Buffalo, NY September 2023. Information about my classes can be found here:https://jkmosaic.com/workshops/events-and-classes/

Also, I have a fiscal sponsor (The Field, NYC) to accept tax deductible donations for community art projects. Right now, I'm raising funds for a big mural in Olympia, WA to be installed in fall 2023. To find out how to participate and/or support this project go here: https://jkmosaic.com/metamorphosis-a-community-mural/

I have been dreaming for years of growing my community art practice into something bigger than myself, where I mentor young artists, bring in artists in other disciplines, and slowly cover all of the plain concrete in Western WA with colorful artwork. I even have a name: ACCESS - Artists Creating Community Engagement in the South Sound. Come on, someone out there must have the resources and enthusiasm to help me make this a reality! I'm really hoping to use the Metamorphosis mural and my platform as Olympia's Fall Arts Walk featured artist to generate a buzz around this effort. 

To see some examples of community mosaic projects I've led in previous years, here's a short slideshow: https://youtu.be/MmTRrDjSLvQ

Thank you for reading!!

Metamorphosis; a Community Mural...and then some.

In 2021, I put out a call for mosaic butterflies with a goal of creating something with and for Monarch Sculpture Park in Tenino, WA. However, multiple obligations took precedence, both for me and John, the caretaker of the park. He took two other jobs teaching ceramics full time. I was selected/hired for a steady stream of commissions. We both have had our hands full, and the mosaic butterflies that were received were kept in storage.

So, in 2023, I decided to pursue a different community project that uses the butterflies in a new design. Since I'm going to be the featured artist for Olympia's fall Arts Walk festival, I am coordinating a mural to culminate during the event. This mural will have a figure emerging from a chrysalis as the centerpiece, designed to be a photo-op where visitors can become part of the mural. I'm toying with adding stylized trees on each side with open cocoons on the branches, as if all of these butterflies have recently emerged. The message is about transformation of societies and individuals, and the idea of becoming our most splendid, magnificent selves.

As of February 2023, I have not secured a wall or funding. I have been awarded fiscal sponsorship by The Field NYC, an organization that accepts tax deductible donations to support individual artists through crowdfunding. I have just launched my first fundraiser: https://app.thefield.org/home/donation/crowd/view/185/Community-Mural-Seed-Fund?fbclid=IwAR3SxFVp0vSdESPqL7jCtPfVuCc3ibTrDzbCfn2K5Aj_cE-9uhR6-ycjWRo

My hope is that the 501C3 status will encourage businesses to partner with me on this. In fact, for years, I've been wanting to establish a program for community art in the South Sound region. I'm getting ahead of myself, but I have a vision for the future that includes creating art for neighborhoods, schools and organizations through community engagement that will grow into a larger endeavor. Community art is empowering for the participants, brings people together across all barriers, and helps to beautify spaces. We can accomplish more with less resources by using this approach, and there is so much plain concrete all around us, I think we should be adding colorful art to as much of it as possible.

But for right now, I'm going to take a leap and see if we can get this one mural made. Suggestions and leads are very welcome. I'll be seeking grants to increase my ability to offer hands-on activities in Olympia from May to October. In the meantime, You Be You!

April Update: We have a wall!

This wall is on the back side of Lloyd's Automotive, facing 4th Ave., next to McCoy's Tavern. It is set back enough that pedestrians will be safe to pose in front of it and it is a stone's throw from my first ever community project, the Artesian Well (2012). 

April 9 update: Honed design, superimposed on the wall:

My Procreate skills are clunky, but I did my best to show how the mural will look on the wall of 425 4th Ave. in Olympia, WA.

May Update: 

The last weekend of April, I was at Olympia Spring Arts Walk leading the initial activity, having participants make the wings of the figure with recycled glass tiles. Turnout was fantastic, as was the weather, and we finished the wings over 2 days. Since then, I've been slowly tidying and filling the mosaic and applying for any grants I thing I might qualify for. So far, I've been able to pay for materials and admin through the fundraiser, but in order to offer workshops through summer, I really need to raise more funds. Otherwise, I have to take on commissions to keep my bills paid. Either way, the central figure will go up, along with as many butterflies as I receive (I have about 10 so far.)

Councilman Dontae Payne and his family

A snapshot of the activity at Arts Walk. 

Hands working together...

Sunkissed participant

Mixing Traditions: Stained Glass and Mosaic

Way back in 2001, I was working in a half-time position at my alma mater while also making arts and crafts. I worked in many different media, unable to settle on anything in particular. On a limited income, my approach was to transform discarded things into new things and I was always experimenting, using old books, fabric, magazines, housepaint... whatever I could get my hands on. I had been selling my work through sporadic shows at cafes and festivals, and even at little shops and galleries here and there.

When my landlord, who is also my friend, repaired the floor around the toilet in my rental, they gave me a box of mixed tiles and urged me to mosaic over it. They suspected I was going to enjoy mosaic, and they couldn't be more on target. I LOVED the process of breaking pieces, then gluing them into a new configuration. I was hooked!

I don't even know how this photo is in my computer. We only had film cameras back then, and I don't have the original.

From this point on, my favorite thing has been to bust hard material into smaller pieces and rearrange them to make a design. For me, there is nothing more cathartic than turning something broken into something beautiful. 

The internet was brand new back then and very few of us had computers. I used the library to find some basic how-to books and I joined a Yahoo-group and met some other people who were also exploring a passion for gluing things to other things. I'm sure I came across information about traditional mosaic technique, but it really didn't interest me. I was just having fun, chopping tile and glass and sticking it back together, willy-nilly.

This is early work, after learning how to make basic cuts with stained glass, but before gaining skills with placement.

In 2009, I attended my first American Mosaic Summit. My mind was blown. The level of artistry in the work I saw was unlike anything I had seen before. All around me, fellow mosaic artists were discussing materials, tools, approaches and techniques. They spoke about "andamento" and "sdoppiomento"; concepts that were elusive to me. They discussed "rules" and "mosaic grammar." Honestly, my gut reaction was to reject much of it. I did not like the term "rules." I was having fun chopping things up and sticking them to things and all of this new information didn't sound fun at all.

What I was excited about was the functionality of mosaic. I knew what I wanted to pursue was mosaic that would be integrated into living spaces; backsplashes, floors, surfaces, windows, murals. The idea that I could create art that could be WALKED ON inspired me. That it could be a privacy screen for a medical clinic was enthralling. So, what I worked toward was proficiency with installations. I learned about adhesives, substrates, grout, moisture-barriers, freeze-thaw cycles. In time, I was installing commissions in homes, businesses and public spaces.

Swing Wine Bar: My first commercial commission in 2007

However, those "rules" had surreptitiously crept into my style. In 2013, I reworked that "Blue Moon" mosaic:

Ten years later, I would change a few things, but I think the contrast between this one and the earlier version illustrates my point.

Over two decades after discovering mosaic, I have narrowed my style. It is characterized by bold colors and use of grout lines as a design element, often interconnecting different symbols within the image. I also work in a photorealistic style, depicting light and shadow using the values in the pieces in a more organic, painterly way. My favorite material is stained glass, and I have become really adept at cutting precise shapes and using them to make certain visual elements "pop." 

Stained glass mosaic mural for private home inspired by kelp and octopus imagery.

I am not trained in a traditional approach. I am still not using "andamento" the way classically trained mosaic artists do. I'm self-taught, and I've incorporated some of those ancient principles, but I also pull from some leaded glass practices, along with incorporating folk art, Art Nouveau, and any other concepts that are interesting to me, including tile design.

This past year, I started thinking about a new course/class that addresses ways of setting stained glass mosaic to create a sense of flow and direction. I'll be exploring how traditional mosaic grammar can be used to inform this type of patterning, and how stained glass offers a departure into different territory because of the malleability of scoring and cutting larger pieces in precise shapes. There are some methods for placement that help determine how the viewer's eye follows contours, or creates dynamic energy, or a peaceful calm.

Notice how pieces follow the contours of the wings, expanding and contracting. And how the radiating pattern conveys a strong energy emanating from the central point of the bird.

There are also some really fun ways to make patterns using precision-cut stained glass into familiar patterns like herringbone, basketweave, chevrons, and into MidCentury designs that I'll address.

I'll be teaching a one-day class about this topic at the Glass Craft & Bead Expo in Las Vegas at the end of March. The link is HERE, if you are considering attending. This will be my first time at the event, and I'm very excited to find out what all the fuss is about. My friend Carrie Strope has been teaching and vending at the Expo for over 13 years, and she says it's amazing.

Another opportunity to learn about Patterning in Stained Glass Mosaic is coming soon, so stay posted!

UPDATED LEARNING OPPORTUNITIES:

Pattern and Flow in Stained Glass Mosaic is now an online course through Mosaic Arts Online! This is a 30-minute version, where I demonstrate the concepts through lecture, sketching and demo, and you can practice each step on your own before moving to the next step, returning as many times as you need to (forever). This link is to the single course, but there's also a bundle available with the Precision Cutting Stained Glass course, which pairs well.

And if you are heading to the SAMA/SGAA conference in Buffalo, NY this September (2023) you have the option of taking the Pattern and Flow in Stained Glass Mosaic workshop as a live, full-day class. Find that info HERE.

Thinking of seeking public art opportunities? Here are some things to look for.

*I have no idea how the formatting on this post got so wonky. It has rearranged the paragraphs, and keeps doing it's own thing. 

Stained glass mosaic mural in Broadway Plaza, Walnut Creek, CA c.2016

This is a post for anyone who has been wondering; "How do I transition into the public art sector?" It is for artists working in any media, but is based in my own experience as a mosaic artist. I started 20 years ago as a hobbyist, incorporating mosaic into my "recycled art" practice, then getting hired for some private commissions like floor inlays, backsplashes, window treatments, hearth surrounds and just plain wall art. After a few years, I created work for some restaurants and a pediatric clinic. In 2005 I was asked to create a memorial for a coworker on a college campus, which was technically in the public art category. So, I started applying for small projects and slowly navigated my way into a steady stream of medium sized public art installations, which is where I find myself in 2023.

My income has been generated through a mix of private, commercial and public art, and it was extremely sporadic for most of my career. I decided to mainly pursue site-specific commissions in 2010, shifting away from arts & crafts that I sold at festivals. In 2014, I was contracted by a company, L'Occitane, to fabricate projects all over the U.S. at a fast pace. It was very difficult, but I learned a lot and built a portfolio that helped me win more projects in the public sector. In 2017, I was selected for my first real public art project for the City of Bellingham (WA) with a $25K budget. I was over the moon and spent the next year working steadily on one solid commission with 5 parts. And that's the joy of large-budget projects, especially if the timeline is reasonable: You get to focus attention on one theme and approach, and work closely with one administrator (or team) for the entire time, without worrying about hustling for the next paycheck. This is such a blessing as an artist, and is the reason I've continued pursuing that direction.

I installed two sidewalk medallions for the Bellingham project
, and 3 vertical mosaics onto light post bases in 2018.

So, that's my back story for context. Once I had a public project with a decent budget under my belt, it was easier to be selected for more opportunities in a similar budget range, so I've been lucky to have steady work for a few years now, with a lot more financial stability. I've worked with different art entities and each one has different processes, contracts, and consideration for the well-being of the artist. I've been thinking a lot lately about what I've learned so far, and I want to share a few pointers for other artists. 

First, I am often asked how I find public art opportunities. Many people assume someone looks up "mosaic artist" on google, sees my website and sends me a request. Ha! I wish it were so! No, there are several main platforms online where artists set up an account with a profile and portfolio. These include Call for Entry and Public Artist.org. We submit professional-quality images of past work with descriptions stating the size, location, commissioning body, and budget. Additionally, there are regional and local arts organizations that have their own platforms. Check your state, city and nearby cities to find out how they post theirs and sign up for their mailing lists. Commissioning agencies post their calls for art on these platforms and artists then submit their qualifications. These calls will inevitably require the artists to re-state all of the information already listed in their profiles, including the image descriptions, along with a CV, letter of interest, bio or artist statement and references. Do not expect to have any of these written in advance because every single call will require you to compose new documents with a specific character/word count and information. More often than not, the information requested will be more than can possibly fit within the character or word count. Brevity is not my strength, as may be obvious to you by now, so I find this very challenging.

Above: Fleuressence; Edmonds, WA 2022 - A collaboration with metal sculptor Abe Singer

What to look for with calls for art:

Once you are in the system and are perusing the opportunities before you, here are important factors to consider before spending hours on an application:

• Is there a fee to apply?
  Pass. You should not have to pay to submit to a call for art. This is an immediate red flag.
• Is it an RFQ or RFP? 
  An RFQ is a Request for Qualifications. This means you will submit your basic information and a selection of images from your portfolio and their jury will make a selection based on your qualifications. Most often, they will shortlist a selection of artists to develop proposals. Some will pay a proposal fee, which is ideal and seems to be more common lately. For an RFP, you are expected to develop a proposal for free on the off-chance yours will be their favorite. When you are just starting out, this may be worth it, as your idea may be more impressive than your experience, and it will help you build your CV and portfolio. But I would proceed with caution, as the committee you are working with might not respect your time. Additionally, when you hand over your free design, you have little control over the use of it. I have heard of artist proposals being handed to a different artist with no compensation or acknowledgement to the designer.

• What is the budget?
  Compare the budget to the parameters. I'm always astounded when there is no stated budget. The artist is expected to guess and has no idea whether they can meet expectations. I view this as an indication that the committee has little to no experience working with artists and has an opaque communication style. It is also important to look at the scope of the work relative to the budget. If the budget is $10K, but they want artwork to cover a 50' x 8' wall, that's $25 per square foot. If you are a mural artist working in a highly stylized format, this may be a great fit for you. But you couldn't have subway tile installed for that budget, let alone an intricate, compelling mosaic. I've seen calls for art with budgets so low, the artist would lose money on materials. (Note: I have learned that, if the RFQ states a budget range like $20K-25K, they are going to give you the lowest amount. They may also include the proposal fee into that budget without explicitly stating it.)
• Are you eligible?
  It is exasperating how often I have to read through the material to find this information. Their criteria can be toward the end of the call for art and might include geographic or demographic limitations (i.e. only from that city or only BIPOC or only veterans.) Sometimes they want someone who has experience with the type of artwork in question, like sculpture, or public engagement. Be sure to read the whole thing before you get excited.
• What is the timeline?
  Lately, I've been dismayed to read calls for art that is right up my alley and I would love to apply, but the timeline doesn't extend out far enough to be realistic. I'm usually in progress on a project and not in a position to start another one immediately. Just today, I looked at a really great RFQ for something where they want fabrication for a $50K project to start in June and be installed in October...of THIS YEAR.  If you don't have experience with these things, that might sound feasible, but I assure you, it is so not. And it could be that they would extend the deadline, but then we are getting into winter months when installation is impossible, so the project would need to be stored until spring. Is that possible? Why isn't the committee aware of this issue? It makes me wary of the folks in charge.
• Where is the project?
  It can be really exciting to have a project in another state. I admit, I love saying, "Yeah, I'm installing this mural in Atlanta" (the other side of the country.) And it might be just dandy for you. But make sure you are thinking it through. What will it take to move the art from your studio to the location? How would you ship it and what would it cost? Do you have the freedom to leave for periods of time? Are you in charge of getting your kid to and from school and have no family nearby to help? Will you need to hire a pet sitter? This one shouldn't be a deal breaker, but I now try to apply for jobs within driving distance because it is so much easier to do site visits and deliver the work with less stress. Instead of paying for flights and lodging, I can allocate more of the budget to the actual project. OR I work with a client who is willing to hire an installer, so I can simply fabricate the mosaic and ship it to the site, ready to put into mortar.
• Who is the arts administrator? 
  Unfortunately, the artist is required to prove they have the experience and ability to complete the project, but the administrator can be literally anyone. They don't have to have any experience at all. And it is very hard to discern who exactly is administering the project - you generally don't find out who you're working with until you are selected. So far, I have learned that a government agency is more experienced and easier to work with, though it's not guaranteed. A city arts department or arts commission is going to have previous experience working with artists. They have procedures, contracts, and a public works department. Still, the person given primary responsibility over your commission might be random and inexperienced, and often they are overburdened. Have an attorney look over your contract before you sign it. Make sure you will have support from Public Works to prep the site and that you have access to water, a place to clean buckets and dispose of waste, and access to a restroom when you are on site. If possible, check the website for the commissioning entity, see if there are other art projects they've commissioned, and you may even want to try reaching out to previous artists to ask about their experience. When you are getting started, you are likely to take whatever work you can get, but it might be worth doing research. So many of my fellow artists dipped their toes into public art, had a bad experience, and swore it off forever. 

Public art is not for everyone.
The bureaucracy is thick, the pressure is high, and you can be expected to live on no income for months while the committee decides whether and when to approve your proposal and issue a deposit. I was selected for my current project in May, submitted the proposal in September, was asked to revise it in November, and finally received a deposit at the end of December. It was originally due to be completed by March, but my request to extend the installation deadline to April was accepted. I've had clients refuse to pay sales tax, even though I have to pay it on the whole amount, no exceptions. You can't include a markup on materials or include a profit margin in most public art budgets. I've made the incorrect assumption that the organization would provide support (or be present) during installation, including blocking off the area of a public path where a crane is placing huge structures. I've had to itemize all receipts and eat the cost of any supplies I already had on hand. And I've come very close to quitting a project twice because the proposal process took so long, I was taking out massive loans to pay household expenses and it put stress on my marriage. But, then when the money comes through and I get to just create for a few months, it is all worth it. And seeing my work installed, watching the public respond, is the thing that feeds my soul. So I keep applying and the cycle continues.

I hope this helps those of you who are thinking of taking this path to decide if it is the right direction for you. And if it is, maybe it will allow you to avoid some of the foibles and trials so many of us go through in this work. Best of luck to you as you find your way through it!

Addendum: The SAMA/SGAA conference registration has launched, and I'm offering an in-person version of my new workshop: The Business Side of Site Specific Mosaic Installation. Find more info here: https://www.stainedglass.org/site-specific-mosaic-business-side-workshop?fbclid=IwAR1WkuBPSdECJ2OjTf-XMzUhBCcBL_zjRbsvbdv7p8vvkU_b1LYh6eZOP3I

This project isn't public. It's for a corporate office (3rd floor) after the first day of installation (2022).