Mosaic In Mexico; An Ancient Tradition

 

Stone mosaic by Juan O'Gorman in Taxco, Guerrero, MX

In the mosaic community, it is widely held that the art of mosaic is an Italian tradition. In fact, many artists trained in the Ravenna or Spilimbergo methods consider the Italian approach to be the only valid way to make, or even define, mosaic. 

To be clear, I did not come to mosaic through classical training. My journey as a mosaic artist was scrappy and mostly self-taught, and I learned the Roman "rules" of mosaic placement reluctantly. I've never been a fan of rules, and I started making mosaic because it was fun. It wasn't my goal to study it or turn it into work. (Yet, here I am, and happy for it.)

I have never been to Italy. I have yet to see the amazing masterpieces my friends visit and share with me. However, I have traveled in Turkey, where the oldest mosaics have been unearthed, and these follow the same general rules as those in Italy. Seeing them in person is truly profound, realizing I am standing in places once occupied by earlier civilizations, imagining the process of the artists as they chopped and sorted and carefully placed these pieces of stone into a remarkably sophisticated composition.

These are in Istanbul.

Thailand is also chock full of mosaic. Their temples and palaces are covered with it. Thai mosaic is typically ornamental, characterized by repeating patterns featuring a lot of mirrored glass and relief tiles. 

My spouse is half Mexican and we have been exploring Mexico for about 12 years now, visiting at least once per year. At first, the mosaic work that caught my attention was very contemporary, mainly made of handmade tiles that had been chopped into smaller pieces. Talavera tiles are the colorfully patterned terracotta tiles typical of Mexico, especially in northern areas. However, in recent years, I've become more aware of the ancient art of mosaic that existed in pre-Hispanic America, separately from Europe. 

Shrine in Valladolid made of Talavera tile, pottery and shells.

Detail

Mayan and Aztec cultures both created funerary masks that were covered in stone mosaic; jade, turquoise, obsidian, etc. With each museum I visit in Mexico, I am struck by the examples of mosaic, many unearthed from ancient times. Most artifacts even use pieces cut into quadrangles and set in the same fashion as ancient Roman mosaic, but many just make use of the natural shapes of the stones or shells.

These are from a disk excavated in Mexico City, believed to be from the 1400s (CE)

Jade mosaic mask - OLD.

This is super old.

This is a mosaic fragment I spotted in a museum in Zacatecas.

This mosaic is in a ruin in Zacatecas state. It is ancient.

This is the only ruin I've come across in MX that is covered in stone mosaic patterns.

 

These are just a few examples of old a.f. mosaics in different parts of MX. 

I had been familiar with the work of Diego Rivera, but until traveling in Mexico, I didn't realize he worked in mosaic, a huge oversight. With every trip, I discover another mosaic made by Diego, often by accident. Plus, I learned that his colleague, Juan O'Gorman was a master of stone mosaic and his work can be found all over MX. 

This is an entire building covered in stone mosaic honoring the deity Tlaloc by Juan O'Gorman. It's on the UNAM campus in Mexico City and is absolutely jaw dropping.

I couldn't photograph this whole mosaic by Diego Rivera in Chapultapec Park, CDMX, so I took a picture of the plaque.

 

This is me with the above sculptural mosaic commemorating water.

On my most recent trip, we found the Otomi Ceremonial Center in Temoaya, MX. That center medallion is stone mosaic.

The structures at the Otomi Ceremonial Center are all covered in mosaic (though it could do with a bit of a scrub.)

I have files and files of images of Mexican mosaic, ancient and modern. On my last trip, we visited the Perdomo Smalti facility in Cuernavaca, which is a 70-year-old family-owned business that makes small-batch, hand-rolled glass for mosaic. They also fabricate custom mosaic.

This topic has been swirling in my head for a few years, so I thought I would finally sit down and begin sharing my thoughts and I hope someone out there finds it as interesting as I do. Thanks for reading!

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.

Portals, an exhibition of fine art mosaic by 10 Pacific NW artists May-June 2022

 *Note: I have another post about this show on my website, with links to each artist's website. If you go to this URL you'll find the artist list, and each one is a link: https://jkmosaic.com/jk/cascadia-mosaic-collective-exhibition-in-olympia-may-june/ There is also an art statement on that post.

A group of ten mosaic artists from Oregon and Washington State are exhibiting together for the sixth time. This show is on display at the Washington Center for Performing Arts in Olympia, WA and is viewable by appointment, except while attending performances and during an artist reception to take place on Saturday, May 14, 5-7pm. 

The artists are a group of friends who met mainly through the Society of American Mosaic Artists: Lynn Adamo, Mark Brody, Todd Campbell, Joanne Daschel, Richard Davis, Scott Fitzwater, Kate Jessup, Kelley Knickerbocker, Jennifer Kuhns and Karen Rycheck. Recently renamed the Cascadia Mosaic Collective, the group has shown bodies of work to elevate the awareness of mosaic as a fine art medium, and to demonstrate the wide range of approaches and interpretations mosaic offers. 

Some members of the collective exhibit at local and regional galleries, some are regularly included in international exhibitions, and some work mainly by commission and only display wall art mosaic in the context of the Cascadia Mosaic Collective, and all are full-time artists.

For more information, contact me: Jennifer Kuhns, jennifer@jkmosaic.com, 360.870.0356

The Cost of Learning (and Teaching) Mosaic

 While brainstorming a new workshop idea on social media, I received a request to please price it affordably. There was a comment that mosaic instruction is often cost prohibitive, especially for people in depressed economies.

I am very sensitive to that concern. I've been there. When I started out, I was using Yahoo groups to glean any information about best techniques and products for mosaic. My fellow budding mosaicists and I used the forums to share our experiences, successes and failures, while we stumbled along our learning curves in a world without YouTube or the Society of American Mosaic Artists. 

Back then, in order to get good, professional instruction in the medium, you had to fly to Italy and work with the masters in Ravenna and Spilimbergo. Eventually, some of those students became accomplished in the field and began offering classes internationally, but we had to travel to them and a weekend workshop generally cost $300 or more. Total costs generally ran about $1000 for any good mosaic workshop, and it was a major hardship for me. At the time, I was the mother of a young child, supported by a teacher, earning some sporadic income from my artwork and occasional part-time jobs that didn't cover the cost of childcare. 

This is at a Facilitating Community Mosaic workshop in Oakland, CA in 2011

In 2009, the SAMA (Society of American Mosaic Artists) conference took place near enough to my in-laws that we decided to make a family trip of it. I was so impacted by this experience, I swore to keep investing in my growth as a mosaic artist, and while I haven't managed to attend every year, I used credit cards to pay for my expenses, wrote it off at tax time, and the investment paid off. Eventually, I was skilled enough to actually carve out a career as a mosaic artist; which still amazes me every day. Now, I'm a SAMA instructor and I've been able to pay for most of my conference expenses by teaching.

These days, you can find some great videos online for free or cheap. A commenter pointed out that Domestika is hosting a workshop by one of my favorite mosaic artists, the fabulous Gary Drostle, out of the U.K. The course costs something like $12 U.S. and is a wealth of information. Domestika is a big company, and I'm not super familiar with how they operate, but they do have a huge global reach. They have found a price point that works, apparently, and it must have been worthwhile for Gary to contract with them and put in the time, even though he receives only a small royalty for each enrollment. But he'll have students all over the world, so it will add up. 

I work with Mosaic Arts Online and I have three courses available on the platform. MAO was created by Tami Macala, the owner of Santa Barbara Mosaic School. Tami left her work in television behind to focus on her mosaic business. She is a practicing mosaic artist who hosts in-person workshops, and she had the brilliant idea to create stream-able courses with visiting artists as well. She brought her television experience to the enterprise, and I was immediately impressed with her attention to details like camera angles, lighting, visual clarity, being concise, breaking down the course into clear segments with transitions that make sense, and then editing it all together for a seamless experience for the student. These days, MAO has become a vital resource, with the best instructors teaching specific styles and techniques, and Tami's spouse, Jerry, now edits everything together.

I can attest that each course takes weeks, if not months, of preparation from the instructor, along with coordination by Tami. We fly to Santa Barbara at our expense, and she arranges everything for us - even providing a car. We spend the better part of a week filming the process on multiple demos created ahead of time, and generally not in chronological order because actual mosaic work takes so much time. I fly down with projects at different stages so that I can show all of the steps in a few days. Jerry rearranges everything so that it appears to be completed like magic, and still make sense for the student following along.

Here I am in the MAO studio, filming a garden mosaic workshop. That monitor on the work table is brand new, and allows me to see what the student will see, so I can correct my hand position and keep the project in the center of the screen, etc.

The business is now incorporated, has an attorney for contractual help, has a social media coordinator and accountant, etc. They have to pay for hosting fees and equipment and a whole array of overhead costs. But remember, they are still a tiny operation; just a couple with some extra help. 

So, the prices we charge are compensatory with the effort and overhead. Each time I visit, there's a new piece of equipment that is a giant improvement, like a wireless mic, a tablet with a teleprompter, and a video camera with remote zoom instead of a digital camera on a tripod mounted to the ceiling. This is all a longwinded way to say that Tami has grown this business from scratch, and the courses are priced to help the business succeed. None of us are getting rich. But the platform has allowed me, and the other artists, to earn some passive income once our courses are live, and to reach students who can't afford to fly to our location and take a more expensive in-person workshop.

In the meantime, I have ventured into recording my own stream-able workshops and I currently have one listed on my website for $50. I priced it lower partly to make it affordable, and also because I am keenly aware that it is makeshift, using a camera on a mount in my messy studio and with very little editing (because I don't have that software or skill set) and no outline or script. You don't get to download pdfs and slideshows, and I often forget to say something important until too late. I'll be working on putting together another class soon, and I'm sure it will be better, but it's still going to be just me and my cell phone in my actual workspace; low tech, casual, and straightforward. I've gotten positive feedback on the first one, so I feel emboldened to try it again. 

I do these, not because I love filming myself, or to get attention - I hate both passionately. I'm doing it  because I like teaching, and because the extra income really helps keep my family solid between commissions. With the courses I'm creating from home, I'm happy to help out someone in another country for whom the price represents 3 months income, so if that's you, send me an email. 

And I do recommend checking out all of the amazing online resources that are now available to aspiring mosaic artists. Join facebook groups and find YouTube channels like https://www.youtube.com/channel/UCavAkUITnile1MQdv0cX5VA and https://www.youtube.com/c/LouAnnWeeks and https://www.youtube.com/c/TreasuryRoad. But if you really want to advance with your work, taking professional level workshops with practicing artists is invaluable. And they deserve to be paid for their time and for sharing their talent, which they have spent years (or decades) cultivating.

And have fun!

My courses on Mosaic Arts Online:

https://mosaicartsonline.com/p/garden-mosaic-for-any-climate-with-jennifer-kuhns

https://mosaicartsonline.com/p/professional-mosaic-installations-with-jennifer-kuhns

https://mosaicartsonline.com/p/precision-cutting-stained-glass-for-mosaic-with-jennifer-kuhns

https://mosaicartsonline.com/p/bundle-courses-garden-mosaic-and-precision-cutting-stained-glass-with-jennifer-kuhns

https://mosaicartsonline.com/p/bundle-courses-precision-cutting-in-stained-glass-and-professional-installations-with-jennifer-kuhns

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