A White Person In Solidarity -June 21, 2020

*Note: This was originally published in June 2020. 

I just listened to this morning's Up First bonus podcast, "Why Now, White People?"

I missed Gene Demby's call for answers to this question, but found the responses very compelling. They ranged to include a mass reaction to Trump's racist rhetoric, prevalence of footage of the murders of African American people, stay-at-home orders affording people more time to pay attention and protest, peer pressure and permission, and rising tensions caused by the pandemic that generally results in acting-out behavior. Apparently, quarantines often coincide with riots.

My own experience has some additional factors, and I don't know how common it is. For background, I am of Scandinavian and Baltic descent with other white European ancestry mixed in. I came out pale, blonde, blue-eyed and predominately heterosexual. I grew up in a very white, rural area of Michigan, but frequently visited my grandparents in Saginaw, which was much more diverse. I preferred the diversity. From an early age, I felt drawn to people from different ethnic backgrounds, and I disliked the small-minded community where I went to school up north. As soon as I graduated high school, I moved to Washington State. Yes, the Pacific NW is far less diverse than many other areas of the U.S. but the liberal attitudes appealed to me, and most of all, I gravitated to the mountains, ocean and mild weather.

The Evergreen State College, my alma mater in Olympia, is an unconventional liberal arts school where, in 1989, I enrolled and was intensely challenged to examine my personal biases and to question everything I had ever learned. Coming from a small-town education where my high school history teacher showed us Westerns and took us to a civil war reenactment to teach us history, I scrambled to catch up with my fellow students. I learned that there were entire bodies of creative work by non-white people that I had not been introduced to. I took classes in cultural anthropology, feminist film theory, and political science. I read the Quran, Mahabharata, and spent a year on Native American studies. I went through a lot of difficult self-examination and absorbed feedback from fellow students who said I was too interested in other cultures, and should focus on my own culture, which is something I continue to explore.

For 20 years, I have been a working artist, often facilitating public art projects that engage disenfranchised communities. While feedback from participants is always extremely positive, I've received comments suggesting that it is not my place; that I might be acting out of self-interest, exploiting underprivileged people to feel good about myself. Many of my artworks are of people. I have gotten some critical feedback for representing people with non-white features, implying that, again, it is a kind of exploitation. If I make work that celebrates people of color, some see it as appropriation. I am not interested in making all of my work about white women. That story has been told. I am very interested in telling untold stories, as with a mosaic I made of Edmonia Lewis.

As years passed, I continued to read books by non-white authors, follow non-white artists, watch t.v. and movies by and about people of color, to listen to non-white podcasters, and generally to keep trying to be aware. But, I still live in Washington, in a very rural area. I have Mexican friends and Native friends. A very large portion of my friends are LGBTQIA. I have six white friends with black children, but only a few, far-flung African American acquaintances. It is impossible for me to have meaningful conversations about race with people of color without accosting someone I don't know in an entirely inappropriate manner. I do have great conversations with other friends who are also working on these things, but it's a limited perspective.

In the past, I've occasionally posted resources, sticking to: "I listened to this Code Switch episode and it was really good. Follow the link." Or, "Have any of you been watching 'Dear White People'? I recommend it!" Speaking up about race in social media feels very tricky as a white person. I feel like I'm saying, "Look at me! I'm so woke!" It feels self-congratulatory. It has always been hard for me to figure out how to have these conversations.

In mid-May, I listened to the audio book by Ijeoma Oluo, "So You Want to Talk about Race." I humbly posted a recommendation on my facebook page, as usual. In fact, Ijeoma gave me a lot to think about. The most important lesson for me was that conversations about race can be awkward, we will make mistakes, sometimes it will go very badly - but we have to keep trying. White people have to be willing to take negative feedback, listen, reflect, then do it again. Too many of us retreat in shame or defensiveness. Her words were fresh in my mind at the end of May.

And then Ahmaud Arbery was brutally killed by white vigilantes, then the news of Breonna Taylor's murder was released, and then George Floyd's killing took place, all within a short time. And everyone with a conscience was shaken by it. People were talking about it and posting about it online. Knowing I had black friends, however distant, and friends with black children, I had to post something. I needed them to know I was enraged and grief stricken and that there are white people who are on their side. I saw videos of white women doing and saying such embarrassingly racist things, I felt the need to disassociate myself with that kind of person. I spoke out more. As more and more people I know have been taking a stand, I feel less like one white person trying to prove how enlightened she is, and more like part of a collective voice saying "We stand with Black Lives Matter." Before, speaking up as a white person felt like I was making it about me. Now it feels like it's about Us, and it's a big Us, and it's a relief to know how many (nearly all) of my friends support this movement.

The hosts of the show sound, understandably, skeptical. Suddenly, all these white people are speaking out who were not before. And it's true; I have friends who argued with me on the topic less than a year ago who are fully engaged now. But I do think it's genuine. I think we are going to keep making mistakes and getting it wrong and, collectively, white people still have a long way to go, but there is a sea change taking place. Many who felt shy about speaking up before are emboldened. We are listening and working hard to learn.

The devastating aspect of all of this is the increase in violence against people of color right now. I feel certain that the entitled white people who are committed to racism and terrified of change are in the minority, but they are freaked out and filled with hate-fueled anger. And they have guns. But they are a dwindling sector of society and I truly hope they will soon be shamed into hiding and that future generations will be free from that kind of prejudice. I have to believe this.

Black Lives Matter Exhibition

 This week, I attended the opening reception and other events for an exhibition at the Jordan Schnitzer Museum of Art in Pullman, WA in the theme of Black Lives Matter. The main exhibition is a body of work by Alison Saar that speaks to her experience as a biracial woman in the U.S. The rest of the museum is filled with work by 20 artists who were selected to receive a grant to create new art for this show. 

I am one of those 20 artists. When I saw the RFQ last year, I decided to apply because I have been wanting to create public art for Thurston County (WA State) that honors and celebrates non-white community members, and I had an idea to use this grant to support that work. 

Let me jump back to the motivation, because I have not made art about social justice issues, for the most part. The themes in my work have focused more on women, mythology and religion, and a reciprocal relationship with Nature. However, with the racially-motivated violence that has punctuated the past several years (which is simply more visible due to phone and body cameras), I found myself wondering what I could do to support the Black Lives Matter movement? 

Back in 2017, I made a mosaic portrait of Edmonia Lewis, a mixed race (Haitian/Native American) sculptor who was prominent in the 1800s. Included in the background, under glass, are bits of her story and work. My goal was to provoke further research, and for the viewer to ask themselves why she is largely unknown? This piece was purchased by the City of Seattle for permanent collection in the Office of Art and Culture.

When I learned of Breonna Taylor's story, one thing that struck me was that she seemed to be underrepresented in the media. As memes began to be shared along with the "Say Her Name" directive, I felt compelled to create a small mosaic portrait of her. I saw too many white people using her name and image to get "likes" and hits, and my hope was to find a way to help raise awareness and possibly to sell or auction the mosaic to donate to an appropriate charity. The portrait was included in a couple of exhibits, and eventually I managed to connect with Tamika Palmer, Breonna's mom, and the portrait now belongs to her. In the end, that felt like the right outcome. 

And that's all I had to demonstrate my interest in making art in the BLM theme, plus many examples of mosaic portraiture I've done as portable and permanent public art. But I also had an idea inspired by the dearth of public art in my area that in any way celebrates the Black community. There is one mural in downtown Olympia in honor of Rebecca Howard. 

My idea, and the proposal I pitched for the grant opportunity, was to create a mosaic portrait of Nat and Thelma Jackson, a powerhouse couple who have spent their lives working for racial equity and much more. (Read more here: https://www.sos.wa.gov/legacy/sixty-eight/nat-and-thelma-jackson/) The portrait would be made on tile board using techniques to make it weatherproof, so that I could find a way to have it installed as public art, and it would be safe to put it outside. 

I really thought it was a long shot, so I was shocked to learn that I was one of the artists selected! There are so many talented artists of color, I really doubted I would be considered. My submission was very clear that I am white, and mentioned that the movement needs those of us in privilege to step up and stand with our Black community, or nothing will change. When I look back at photos and film of events like the march in Selma or the Lunch Counter Sit-Ins or the Freedom Riders, I see the white protesters who joined in the fight, and I want to be that kind of person. I want to be on the right side of history, and I want to fight for a better world. 

Over the past year, I've talked with Nat and Thelma to explain what I wanted to do, get their permission, and make sure I was representing them in a way that felt empowering for them. We also discussed at length how to site the mosaic, and Nat guided me toward working with the City of Lacey, WA. Their roots go deep in Lacey. As it turns out, Goose Pond was once the Jackson's property, and the Lacey Community Center is located next to it. The Jacksons live nearby, so at this time, the most likely location for the portrait is there, inside of the community center in a prominent spot. 

*Note: The background was chosen partly because Nat loves to garden and Thelma loves flowers. I chose the soft, sweeping colors and shapes to contrast with the smaller, tight spacing in the figures, so they would come forward. The foliage also represents the seeds planted by Nat and Thelma in Washington State and Thurston County, and how they have cultivated positive change that will continue to grow and flourish for future generations.

When the exhibition opened and it was time to drive 6 hours to the other side of the state, I did have some trepidation. I didn't know what to expect. The opening fell during possibly the busiest time frame of my career, when I was scheduled back to back for multiple events and an installation, so I barely had time to be nervous. No one was flexible enough to accompany me for three days midweek, so I knew I would be arriving alone, not knowing anyone. And I was pretty sure, as a PLC (Person Lacking Color) I would be in the minority among the artists. While driving, I thought through how to answer any questions that might come up so that I would be less likely to misspeak or freeze. I knew I wanted to focus on talking about the Jacksons and not myself. 

I did not expect to be the only white artist included in the show. 

Had I known, would I have politely declined to attend? No. Was it uncomfortable? Yes.

I kept Ijeoma Oluo's advice in mind throughout the event. It's hard, and you might get it wrong, but don't put your tail between your legs and give up. Keep trying. I felt it was important to be there, but also to be quiet. I decided immediately that I wouldn't speak up unless asked. I listened and my fellow artists spoke and it was intense. I felt like an outsider and I wondered if I belonged there. My mosaic was featured prominently. It sparkles. But it was not made out of lived experience with racism. The other artists presented work that is their insides on full view. It is angst and pain and fear and hope all fashioned out of paint and torn paper and fabric and metal. It is generations of violence, objectification and nightmares laid out bare for the public to witness. I felt keenly aware of how my work is different from theirs. Still, I believe down to my bones that we need to stand together, and that change only happens if those of us with power stand alongside those without. 

Here is a link to an article about the show: https://dnews.com/local/social-justice-artistic-impact/article_cae87b45-1bc8-5d33-90dc-91306417942f.html?fbclid=IwAR1QxNWvKbZstnTTkW8awVqpszggtwYWNUPwPexBekkoNwykHnG-ozpsNqI

Pricing your Mosaic Artwork

 Ok, I have to start right off letting you know that this post will not reveal a formula for pricing your work! The fact is, there is no formula. Even though I've been creating commissioned mosaic for about 2 decades, I still don't have a solid equation for mosaic projects.

When I was just getting started, I remember being very confused about how to price my work. I just made up numbers by guessing how long it would take me and how much materials would cost, and I was working for peanuts. Honestly, that is how you start. If you are like me, you are getting started with very basic skills and each project poses new and unanticipated challenges. You are making mistakes and learning as you go. Price accordingly and be honest with yourself. Do as many projects as possible in your own home or as favors for friends in order to learn and build your portfolio before accepting commissions. I can't stress enough how important this is! If you take on a corporate or public art project before you understand the properties of adhesives and how they combine with different substrates, you are setting yourself up for a disaster. 

The above image is a glass-on-glass mosaic I made for a restaurant in Olympia, WA back in about 2008 as a privacy screen between the kitchen and dining area. The design is sweet, but I did not yet understand the concept of andamento and the lines are rudimentary. I made two of these, about 36" wide, for about $900 in food credit. Twelve years later, the work would be much more sophisticated and I would charge $3000 for the labor alone now. Unless the client asked me to reproduce this design (or provided a design) there would be a design fee. If I were expected to install the panels, that would be additional. Otherwise, there would be a delivery fee.

In the years between then and now, my per-square-foot fee has slowly increased in keeping with my skill level, experience and reputation. By now, my work is installed nationwide, my CV is extensive, I know what I'm doing, and I now carry business insurance, have a contractor's license, and I'm incorporated. These are considerations for your pricing structure.

My first step toward making this work into my business was to enroll in a 3-month-long business course offered by a great local organization that helps people start micro-businesses. By the time I completed the program, I had learned about marketing, taxes, liability, etc, and had a business plan approved by a financial advisor. A couple of years later, I took a "Business of Craft" weekend workshop that was more specific to creative commerce, and it gave me more tools to apply to my own business. In 2012, I took Laurel True's "Business of Mosaic" class, which was intense! I highly recommend her workshop, if you can take it. But honestly, even with all of this information, I still had to figure out my own pricing because my particular situation is unique to me. The work I make is different from other mosaic artists. My needs are different. My local market is specific, and I adjust accordingly. Each individual project has its own considerations; is it a simple design, or more complex? Is it flat or dimensional? Stylized and simple, or complex and representational? What are the materials and tools required? Can I work on it in my studio, or will I need to travel to the site? Will I be doing the installation? Or will I need to build crates and ship something heavy to another state? Will I need to rent scaffolding? A crane? Do I need to contract others to help with aspects of the work, like the stone carver who created the inlays in these boulders?

If you are making straightforward rectangular mosaic art that is either hung on a wall or installed in a backsplash (for instance) you can more easily come up with a square-foot or square-inch price. If that's the case, I recommend you do some research, looking at other artists' prices. Try to be objective about your work and compare yourself to others at the same level, and in a similar category style-wise. Try to match your market as well as you can. If you underprice your work, it hurts your colleagues. Many years ago when I still sold at festivals, my booth was placed right next to another mosaic artist, unfortunately. She made small, simple mosaic onto the glass in reclaimed picture frames she had bought secondhand, and she lived next door to a stained glass factory where she gleaned all of her glass for free. Her mosaics were all $25. Mine were $100-$500, much more elaborate and diverse, though also using reclaimed materials and bases. I didn't stand a chance. With sites like Etsy, this kind of thing is happening all the time. 

So, it's tricky. You need to start somewhere. But you don't want to underprice your work. That is a balance each artist needs to find on their own. I've had people send me photos of their work, asking, "How much should I charge for this?" I cannot answer this question. I'm sorry, because I was once where you are and I know it's confusing. Each artist needs to figure out their market and their pricing, and in time, you'll find it. 

If it helps, my range for fabrication is $200-$1200 per s.f. $200 is my simplest style, precision cutting or randomized patterning with relatively large pieces. $1200 would be intricate realism like portraits. Those are very hard and take forever. I now have price lists for materials, and that is a separate line item. Smalti runs about $80/s.f.. Stone is about $40/s.f. Stained glass is a wide range, depending on type. Cool colors of glass cost less than warm colors due to the minerals used. There is a design fee, sometimes admin fee for the hours spent working out details. I usually install my own projects and I charge a daily rate for that. Now, with public art, there is always a set budget. In those cases, I have to work backward, estimating the cost of each part of the process, and letting that define the scope of the project. 

So, in sum, there is just no easy answer to the question about pricing your work. But I hope this gives you some things to think about. Be sure to track your time on projects, especially at first. This will help you a lot. If it takes two days to complete a square foot, consider that in your labor cost. But maybe you are able to complete a square foot in two hours? This will help you determine your rate. 

I hope this is helpful! Thanks for reading and have fun making mosaic!

~Jennifer

What's Happening with the Diversity Mural in Orlando?!

If you aren't following the Diversity Mural project in Orlando on the facebook page, you might wonder what has been happening. So much! So much has been happening!

A great article was printed in the Orlando Sentinel

Cherie Bosela, the owner of Luna Mosaic Arts in Orlando, is now working full steam to prep the hearts for installation, which is a huge undertaking because there are over 700! And they are still coming in from all over the world! Volunteers have been gathering at Luna Mosaic Arts to help with pre-grouting, which will make installation much easier.

Volunteers grouting yellow hearts

Laticrete, a company that specializes in top-of-the-line tile installation and surface treatment products is donating all of the thinset and grout for the project, including custom grout tints, so each heart will be grouted in its corresponding color, making the rainbow extra vibrant. Laticrete has been supportive of the mosaic community, often donating supplies for community projects and sponsoring the annual American Mosaic Summit.

Laticrete's Permacolor Select grout with custom purple tint!

This is the first mural, in Shelton, WA. Laticrete donated materials for this, and I smeared and blended the grout between the hearts. You can see how bright it is. (I still need to finish grouting later this month.)

One hiccup that has come up is that the Orlando Laticrete rep has urged us to have the paint removed from the wall before applying the hearts. Unfortunately, the quotes for sandblasting are more than we can afford to absorb. We are doing this project without a budget or any financial backing outside of a modest Go Fund Me effort, and while we have raised $3600 of the $5000 goal, we have had other expenses and can't cover the cost of paint removal. Cherie thinks she will have to grind off the paint behind each heart by hand, which will be extremely time consuming. The dedication is scheduled for September 21, so any help we can get with every aspect of the installation would be much appreciated.

If any readers have connections in Orlando and could help us figure out how to get the sandblasting sponsored or super-discounted, it sure would help. 

Still, I am flying to Orlando for the dedication on September 21, and it is going to happen! While there, I'll be teaching a workshop on Precision Glass Cutting for Mosaic at Luna Mosaic Arts that weekend, and there are still a few openings, so consider joining us if you are a mosaic artist interested in adding stained glass to your repertoire, or gaining more control of the material.

And one more reminder: Please share our online fundraiser to your community or to anyone you know who agrees strongly that the LGBTQIA community should not have to live in fear for their lives because of their gender presentation or who they love.  Thank you!!

https://www.gofundme.com/DiversityMural

New Mosaic Artwork in Bellingham, WA

During the Memorial Day weekend, I put in 41 hours installing mosaic along Maplewood Ave. in Bellingham, WA between Shuksan Middle School and the intersection of Maplewood and Birchwood. There are two horizontal sidewalk inlays, one near the intersection and the other near the school. On the other side of the street are three vertical projects on concrete light post bases.

These are the light post bases, designed by kids during a community event in Squalicum Creek Park last summer. I rolled out butcher paper and asked kids to draw themselves and critters that one might find in a garden. Then I spent about 6 months re-creating their designs in mosaic.

Here is an example of an original drawing (one of my favorites.)

And this is the same face in mosaic. (The eyelashes are there, but I used groutlines.)

 The sidewalk inlays began as several designs that were presented to the community and voted on. They went with mandalas featuring Pacific NW species. My favorite is the one with Blue Herons, salmon, Skunk Cabbage, the Cascades and Birch trees (located close to Birchwood Ave.)

This one is brighter, with a spring theme. There are some glass butterflies and dragonflies mixed in as well.

The second mandala features otters in the center, Sword Ferns, eagles, the Cascades and Maple trees (for Maplewood Ave.) This one is more Fall themed and feels a bit more subdued.

Usually, my projects are at least partially grouted when I install them, but this project had different circumstances and I underestimated the time it would take to complete 125 s.f. of mosaic by myself. Luckily, I had some great helpers come to my rescue.

My friend and sometimes-assistant, Tara, loaned me her Kia Soul, which had enough room to pack all of these mosaic panels, installation supplies, a fold-out canopy, and my personal belongings.

Mount Bakery owner Vince Lalonde provided my breakfast on three mornings, which was so hearty (and delicious) that it got me all the way through each day, which was amazing because I didn't have time to stop until about 9pm each night, and I was too tired to eat then. He also loaded up his van with 5 gallon buckets of water and dropped a few of them at each project site, and this was a life saver. Vince owns and manages the two locations of Mount Bakery (downtown and Fairhaven) and is a very busy guy, so I can't thank him enough for taking time out to help me. And the food! So good.

Theresa, a woman who lives on the block, and her son Langston, helped me grout for two days. (Langston played nearby most of the time, but he helped here and there, and was a good conversationalist.) I really enjoyed spending time with them, and the help was awesome.

I want to also mention that I love the Birchwood Neighborhood! This has to be the most diverse neighborhood I've ever spent time in, which seems very strange to find in Bellingham of all places. The people who stopped to talk with me were from all persuasions, wearing different ethnic and religious clothing, speaking different languages, and appearing to be from all different levels of wealth and privilege. Everyone, without exception, was enthusiastic about the artwork. Doing public art closer to home, I have found that a large percentage of the community resents seeing the new artwork, and they ask me if I'm being paid and if their taxes are being used for something so frivolous. Last weekend, people were just delighted that the City would invest in their neighborhood, improving the street (there are new sidewalks, bike lanes and street lights - much safer for everyone.) Several people shocked me by saying, "I hope you are getting paid well for this!"

It was a very hard weekend, and my body is still recovering, but it was also extremely rewarding. If you happen to be in Bellingham, now or in the future, swing by Maplewood Avenue and take a closer look.

Joanne Daschel, Environmental Mosaic Artist

Last week, I started writing about some of the creative people in my social circle who inspire me. Each day, I look forward to checking my facebook and instagram feeds because they are filled with posts about art and nature, and it uplifts and motivates me.

Today's blog post is about Joanne Daschel. I first met Joanne while teaching a workshop in Hillsboro, Oregon on precision glass cutting for mosaic. There were about 20 students, and Joanne was quiet and needed very little help. She was a quick learner and brought her own style to the project, so she knew what she wanted to do. I spent a lot more time helping other students, but I noticed that Joanne was already skilled in the medium.

This is Joanne in that first class, having cut a narrow, inverted curve that would become part of a peach.

I think it was during that first meeting that Joanne told me about The Sitka Center for Art and Ecology, where she works part-time. She suggested I teach a workshop there, so we corresponded afterward and within about a year, I did get on the Sitka schedule. The class filled up right away, and I was happy to see that Joanne was one of my students again. This time, I taught a glass-on-glass workshop, where students made a translucent mosaic on a reclaimed window.

This was Joanne's window! It still hangs in her studio.

I spent 3 days in Lincoln City, OR while teaching the workshop, and Joanne was a great host, taking me around to meet local artists, showing me the good places to eat and drink, and showing off the amazingly beautiful landscape on that part of the Oregon coast. Conversation flowed easily and we became good friends very quickly.

The view from Cascade Head.

Since then, I've taught each summer at Sitka, and there have been other opportunities to spend time together at workshops, art events and the SAMA conference. Joanne is funny, smart and insightful, and I learn something new and surprising about her every time we hang out. She is a very skilled artist. Examples of early drawings are on display in her house, and they are outstanding. Her work focuses on the natural world, including the food we eat. Joanne was landscaper until her body began to suffer. Now she balances her job at the Sitka Center where she is surrounded by artists and environmentalists who are teaching and learning, with her personal work in her awesome studio located in the Lincoln City Cultural Center.

Joanne teaches workshops and holds open studio hours, and she is constantly creating new work that celebrates the natural world and her connection to it. When Joanne isn't working at Sitka or in her studio, she's either in her own garden or hiking. When you see her work, you sense her passion for the things that sustain us.

I could keep gushing about Joanne, but I have a tendency to make my posts too lengthy. Be sure to look her up on social media to see more of her work. Right now, she's working on a series, making a 6" x 6" mosaic every day in tandem with painter Katia Kyte. These will be on display at the Chessman Gallery in Lincoln City, opening on August 10th. I'll be there! (I'm teaching a workshop on light and shadow in mosaic that week at Sitka.) It is worth a trip to this beautiful area. (*Also, we will both be at the reception for another version of the Chiaroscuro group exhibit in McMinnville the following evening, August 11. I'll post details as we get closer.)

More of us, for fun:

In Boston

Scott Fitzwater, Joanne Daschel, Jennifer Kuhns, Lynn Adamo, Mark Brody: the seeds of a collective were planted on this night.

St. Patty's Day, Boston

Lincoln City, secret trail

Joanne held open studios and generated 101 hearts for the first Diversity Mural!

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!