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.

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). 

New Mosaic Honoring Nat and Thelma Jackson in the Lacey Community Center, Lacey, WA

 In 2021, I wrote about my experience attending the Black Lives Matter artist reception at the Jordan Schnitzer Museum of Art in Pullman, WA. I had been one of 20 artists selected to create new work speaking to the theme of Black Lives Matter who were then included in this 3-month-long exhibition.

This was at the artist reception in Oct. 2021

I was selected for this opportunity based on my proposal to create a portrait of this powerhouse couple, Nat and Thelma Jackson, who have spent their lives advocating for social justice and equity in education. Please read more about them here: https://www.sos.wa.gov/legacy/sixty-eight/nat-and-thelma-jackson/

Nat and Thelma provided the photo for their portrait, which is from their 50th wedding anniversary. The background of stylized flowers and foliage represents both their love of gardening and their legacy as the cultivators of positive change and community in Thurston County, WA. After the exhibition, I set about finding a public art entity in Thurston County who would accept the artwork as a donation and install it in an appropriate location. Everything came together when the City of Lacey suggested their Community Center, which is a stone's throw from the Jacksons' home, adjacent to land once owned by the Jackson family before it was annexed. Plans were in the works already to install an informational marker on the Karen Fraser Evergreen Trail where it passes Goose Pond to recognize the connection to Nat and Thelma, so a plan slowly developed and an unveiling took place on October 4th, 2022. 

The event was just perfect, on a beautiful fall day. Local community gathered along with the extended Jackson family. Nat and Thelma spoke eloquently of their connection to the Lacey community, and their deep gratitude for the acknowledgement they were receiving. The unveiling took place as the sun shone into the lobby, making the stained glass sparkle. Their granddaughter, Adera Gandy, sent me this short video just as the curtain was drawn back, and the sound of the crowd really says it all: https://www.youtube.com/watch?v=50TqxjOuHyo

Nat and Thelma Jackson with their mosaic portrait.

After the mosaic unveiling, we walked to the marker at Goose Pond, about 10 minutes away from the Community Center.

It was an honor to create a lasting tribute to this wonderful couple. I learned so much from them and through the research I did while creating this piece. Thelma published a book this year: Blacks in Thurston County, WA; 1950-1975 A Community Album. You can order it here: https://nwilc.org/book-order Dr. Jackson has been an educator and education advocate for decades, and she is a wealth of information. Nat Jackson has worked in government and fought for civil rights throughout his life. To top it off, he holds the title of "U.S. National Jump Rope King", breaking records for speed-jumping in 2017.

If you are in the Lacey area, be sure to stop by the Community Center at 6729 Pacific Ave. SE and have a look at the new portrait.

Introducing Reham Aarti - Idaho Mosaic Artist

I am lucky to know so many amazing people! I'm going to start finding time to write a little bit about each of them here. Most of them are doing interesting, wonderful projects, and I want to help spread the word.

Today, let me introduce you to Reham Aarti:

In 2016, I was attending the annual American Mosaic Summit in San Diego, and a friend who works for the Washington State Arts Commission sent me a facebook message saying to keep an eye out for Reham. She thought we would hit it off. The only information I had was that she has blue hair. I mentioned it to my roommate, Krystie Rose.

Later that evening, when I returned to the room, Krystie Rose said, "Look who I found." And there was this adorable woman with blue hair sitting on the bed! A group of us were planning to head out for dinner. Reham had her own plans, to meet a family friend for a Mediterranean dinner. Reham was born and raised in Kuwait, and is an American citizen (no trace of an accent, even) living in Boise. The group was going to join forces with Reham and her friend, and we were all on our way to a Lebanese restaurant in two cars, when something came up for the other group and they turned back. I found myself out with two people I had only just met, and I felt a bit like a third wheel.

For about 10 minutes.

Reham and her friend spent the car ride talking about their experiences living through the Gulf War, and I learned that Reham had been active in the resistance, against her father's wishes. Conversationally, I had absolutely nothing to contribute, but it was fascinating to listen and learn. And by the time we were eating a humongous dinner (Reham's friend knew the owner, and we were served a lavish meal) I felt completely welcome. Reham is outgoing, warm, and hilarious. I felt extreme gratitude that I had gotten into her car so that I had a reason to get to know her better.

Wonder Wall, public art mosaic by Reham Aarti

As we shared pictures of our work, there was an immediate kinship. Our approaches are similar. We both love folk-arty aesthetics with bright, dynamic colors. We work in similar arenas, mixing private commissions with public art, and are just doing our best to keep finding and making mosaic to support our families, doing something we love. However, I have a partner who supports me. Reham is flying solo, raising two boys on an artist's income.

Reham has started using the Patreon platform to help fund more public art projects for Boise schools. Her particular focus is creating "buddy benches." Read more and consider contributing here: Reham Aarti on Patreon

If you love mosaic and/or public art and art for kids, keep an eye out for future projects by Reham!

My current public art project:

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City of Bellingham Project In recent emails, I've highlighted some of the smaller projects I've been working in this year. But this is my largest public art project to date! Last March, I was selected for a public art project by the City of Bellingham. They are improving the Birchwood neighborhood, adding sidewalks and lights to create a safer, nicer environment, and they needed some artwork that would engage local residents, but had not chosen a specific location, theme, or type of project. I had a unique opportunity to work with the committee from the very beginning, creating a proposal from scratch. Mandala Sidewalk Inlays The first stage of the project will be two 4'-8" sidewalk inlays. I created several design proposals, which were voted on during a community event and finalized by the Arts Commission. I've been fabricating the designs using matte glass tile on mesh, which temporarily holds the mosaic together until it can be set into mortar on site. Each design is a mandala featuring Pacific NW species. One includes blue herons, salmon, skunk cabbage and birch trees, and will be located on or near Birchwood Ave. The other includes otters, eagles, sword ferns and maple trees, and will be located on Maplewood Ave. I began work on the mandalas in August, and I expect to have them ready for installation in December, though construction schedules and weather will determine when they are installed. It is likely to be spring of 2018. "Kid Garden" Light Post Bases Part two of the project is a community engagement component. For two days in June, I rolled out giant craft paper at Squalicum Creek Park and invited local kids to help design a garden with their faces on the flowers. They did a great job and I returned to my studio with the three 9' x 3' designs that I needed to create vertical installations that will go on concrete light post bases along Maplewood Ave, between the two sidewalk inlays. My goal was for kids in the neighborhood to see themselves in the artwork and to feel a direct connection to it. Through summer, I fabricated the drawings in mosaic, and I've been slowly filling in the backgrounds between other projects. I expect to have this component ready for installation in January, but again, it will depend on construction and weather. To follow my progress: Last year, I learned how to use Instagram, and I really like it. It's easy to upload images from my phone, so I use it regularly to post progress pictures, shots of the studio, snippets from my life, etc. You can find me at jenn.kuhns. I also have a business page on facebook: https://www.facebook.com/JenniferKuhnsMosaic I'm even on twitter! Honestly, I haven't gotten comfortable with twitter. It's just too much. Usually, I just let my posts on other platforms share automatically on twitter. But if that's your preferred way to get updates: https://twitter.com/jkmosaic And if you're more of an in-person person, feel free to schedule a studio visit. Be warned that I work in chaos, but I have an eclectic house, full of mosaic projects, and a lot of available work on my walls and stashed in suitcases. I live about 30 miles from the Westside of Olympia, WA. 360-482-8024 Copyright © *|2017|* *|JK Mosaic, LLC|*, All rights reserved. Want to change how you receive these emails? You can update your preferences or unsubscribe from this list.

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Mosaic Murals by JK Mosaic

Custom Murals by Jennifer Kuhns at JK Mosaic, LLC

Photorealistic mural in Broadway Plaza, Walnut Creek, CA

Panels are assembled in my studio, and transported to the mural location to be installed.  Installation typically takes under 3 days.

Each piece of glass is hand-cut and placed into the composition.

This lavender farm photo was printed to scale, then mapped out in my studio.

Completed panels being installed on location in Alpharetta, GA by me and my trusty assistant, Krystie Rose Millich.

Installation completed within a day and a half.

The finished mosaic, made of stained glass, sparkles in the sun.

This project, from 2009, was created for the Federal Way Senior Center in Federal Way, WA to celebrate their community garden and food bank.

Here is the project, installed by a carpenter.

This project was completed by young children at Les Gove Park in Auburn, WA in one day.

Most of the children were from local preschools, and a few older kids joined in as well.

Completed glass mosaic community mural.

A Mosaic Artist Wanders Around Austin

My workshop with Katerina Pinosova wrapped up in three days, leaving me two and a half days to explore Austin, TX for the first time.  I wasn't sure where to start, so I headed to Blue Moon Glass Supply, because it came up in a search for mosaic in Austin.  There, I met Jim and Rose, and they made me a list of sites to visit, along with the names and contact information for two local artists.

The first mosaic I found was in Shipe Park at a public pool.  It is called "Day in the Park" and was a community project.  I love the design!

From there, I drove to Deep Eddy Pool.  They charged a fee to enter the pool, and I'm cheap, so I took these photos through the fence:

That was another community project commemorating the history of the park.  I couldn't get close enough to the plaque to give proper credit.  It is much bigger than my photos depict.

I continued to walk on the path past the pool and it led me along the Colorado River.  It was a lovely walk, full of people out enjoying nature.  It was there that I began to fully appreciate the city of Austin.

I took this from the bike/pedestrian bridge that crosses the river.

From there, I found a sculpture called "Your Essential Magnificence" made by James Talbot.  I had not felt certain how I wanted to use my new concrete sculpture skills until this point.  I needed to see more work like this.

It was past lunchtime by then, so I stopped at the Magnolia Cafe, just around the corner.  From there, I called the two artists on my list and left awkward messages.  I had never done anything quite like it before, calling strangers in a strange town to ask if I can visit.  Suvi Aika called back immediately, and she was less than two miles away, so I went in search of her home: Casa Wonderlandia.

My photos don't express the magic of Suvi's home.  There are Wonderland-themed accents all around.  The exterior walls of her house have large gears mounted on them.  (I learned later that they light up at night.)  She has landscaped the alleyway next to her house and created a little fairyland.  The photos above include things around her home, and a project she created at a local elementary school for their courtyard.

When I left Suvi's house, I visited a project at Barton Springs Elementary that is fantastic.  A short, but long retaining wall is covered in handmade tiles and glass celebrating Austin and the neighborhood.

I tried to find one more location after that, but a stalled train blocked my path.  I was saturated anyway, so I headed back to my room in Lakeway to process my experience.

I'm stopping here for now, but the next day was even more fantastic, so stay posted!