Kelley Knickerbocker - Society of American Mosaic Artists

Register early for the 8th Annual SAMA Conference • San Diego, CA • March 25-28, 2009
Fall 2008 • Volume 9 • Number 4
Kelley Knickerbocker
Artist Inspiration:
Looking vs. Seeing
Step By Step:
Mosaic Backsplash
Confessions of a
Texture Junkie
OSHA:
What You Need to Know

From The President
SAMA
Board and Officers
Officers
President
Karen Ami
Vice President
Rhonda Heisler
Secretary
Andrea S. Taylor
Treasurer
Bonnie Fitzgerald
Board of Trustees
Yvonne Allen
Bill Buckingham
Susannah Dryden
Sue Giannotti
Sheilah Jewart
Shug Jones
Dedra Lipscomb
Gwyn Kaitis
Sharon Plummer
Hillary Sloate
Advisory Board
Dianne Crosby
Lori Greene
Ruth Wunsh
Executive Director
Dawnmarie Zimmerman
Operations Manager
Chris Forillo
Membership Director
Sue Giannotti
Volunteer Coordinator
Yvonne Allen
Groutline 2B Creative Team
STAFF Editor
Gina Marie Mayfield
Design Director
Barbara Dybala
Groutline Advertising Sales
Bryan Felix 951-204-7887
advertising@americanmosaics.org
Contributors: Barbara Coots, Jo Ann Locktov,
Rhonda Heisler, Shug Jones, Dawnmarie
Zimmerman
Groutline is published quarterly to promote
mosaic art in the U.S. and abroad.
© 2008 Society of American Mosaic Artists.
Reproduction or distribution prohibited
without permission. Address: P.O. Box 624,
Ligonier, PA 15658-0624
Editorial queries may be sent to
groutline@americanmosaics.org.
On the Cover Detail of 33º F,
Kelley Knickerbocker’s 18-inch by 16-inch
glass mosaic, 2007
Our Membership Director, Sue Giannotti,
recently informed our board that
our member count now exceeds 1,100. A tiny community of artists and mosaic
enthusiasts has grown in just nine years into the largest mosaic arts organization in
the world. If you’re a new member, we welcome you and encourage you to jump in and
get acquainted.
This issue of Groutline will give a slice of the
SAMA organization. You’ll find technical advice
from a seasoned professional, insight into one
artist’s sources of inspiration, and a look at how
another mosaicist experiments with materials
and finds her artistic voice. You will also discover
the nation’s capital is rich in extraordinary public
mosaic work, and learn how SAMA members in
Houston are inspiring and supporting each other
and promoting mosaics to their own community.
The SAMA website is another great resource
for members. You can check out the news and
announcements, browse the Member’s Gallery,
check out the mosaic resources including supplier
and educational opportunities, and explore the
content available in the Members Only section.
Follow the weblinks and network with the people
you meet there. You will find we are a generous
and diverse group, all united by a passion for creating
in the unique medium of mosaic art.
If you’re hungry for inspiration, community,
and the sharing of information, I recommend you
attend the next annual conference, March 25-28 in
Inside Fall 2008
SAMA News 10-11
SAMA Member’s Mosaic in Guggenheim 12
Feature
Travel, Mosaic Style: Washington, D.C. 6-7
Departments
Inspiration: Looking vs. Seeing 3
Launching a Regional Mosaic Group 4
Artist Profile:
Confessions of a Texture Junkie 5
Ask A Pro:
OSHA, What You Need to Know 8
Step By Step:
Mosaic Backsplash on Backer Board 9
San Diego. The workshops offered will provide you
educational opportunities in many different areas
of interest. The Mosaic Arts International exhibition
is always a conference highlight and offers you
the chance to see the very best in contemporary
mosaics and to actually talk to the artists, many
of whom will be totally accessible throughout
the “conference. “
Who knows? By the end of the conference you
may be so inspired you’ll volunteer to serve on a
committee. Your immersion will be complete. In
fact, we depend on it, because dedicated volunteers—including
our board members—make our
conference and all our other programs and activities
possible. I hope to see you all in San Diego!
President
The Society of American Mosaic Artists
Besides serving as president of SAMA, Karen Ami
is the founder and Executive Director of The Chicago
Mosaic School, artist and sculptor, mama, and amateur
boxer. www.chicagomosaicschool.com.
Patron Members
Bill Buckingham Mosaic Rocks!
Aysel Ergul
Timothy Falb
di Mosaico
Jacqueline Iskander Jacqueline Iskander Mosaics
Sonia King
Sonia King Mosaics
Ann-Britt Malden Hakatai Enterprises, Inc.
Jane O’Donnell
Mosaic Studio and Gallery LLC
Drucilla M. Perez-Tubens
Bart Streuter
Laurel True
Barbara Vargas
Donna Young
Streuter Industries
Institute of Mosaic Art/
Mosaic Studio Supply
Mosaic Basics
Mosaic Art Source

The world around is a source of inspiration.
My
Inspiration
by Ruth J. Wunsh
One artist’s inspiration lies in
not just looking, but seeing, the
beauty that surrounds us.
Wolf Pack. 2008
Photo: Ruth Wunsh
A
sign in my optometrist’s office reads “Sight is a sense, seeing
is an art.” The world around us, the people and creatures that
inhabit it, are sources of inspiration. I think the problem sometimes
lies in looking but not seeing.
My family includes three adopted children (two from India and one
with Down syndrome) and two different religions. Our dear friends
come from many countries and represent many faiths and colors,
which enriches our lives immeasurably. Inspired by this diversity, I
started a series of mosaics about overcoming injustice to others. The
first, Embrace, was included in the 2008 MAI Exhibition. The second,
Born in the USA, demonstrates that most individuals love children, but
as they near puberty, some people see only so-called differences. Has
the child changed, or has our perspective become skewed? The third
mosaic is an abstract maze titled Life. As I see it, life is filled with hurdles,
roadblocks, twists, turns, and false paths, as well as its pleasures,
unexpected rewards, and character-building challenges. It’s this
that wakes us up full of anticipation and puts us to sleep exhausted
but complete.
Heavenly Bodies, my second mosaic series, was inspired by images
of an awesome and unspeakably live and colorful universe, sent back to
Earth from the Hubble telescope. The visions of objects so unimaginably
huge can either make us feel incredibly small or tremendously significant
as part of something so rich, complex, and endless. I choose the latter
view, attempting to capture this boundless movement and color in the
Swan Nebula (juried into the University of Mary Washington’s mosaic
show this fall), the Orion Nebula, and RCW-49.
A third theme, The Other Inhabitants, focuses on the animal kingdom
I love. I’ve tried to recognize their affection, closeness, intelligence, protectiveness,
and warmth. Wolf Pack, the first in this series, took an honorable
mention at the Art Museum in South Carolina—the only mosaic
entered in this fine arts show.
When seeking inspiration, I find all I need is the time and willingness
to see the world around me, the ability to concentrate on what
moves me emotionally, and the discipline to stay focused on the
creative process.
Ruth Wunsh, a member of SAMA’s Advisory Board, has a Masters in Mosaica from Orsoni,
and has studied at the Chicago Mosaic School, Maverick Mosaics, and the NY Studio
School of Sculpture. mosaicsbyruth.com
Society of American Mosaic Artists 3

Imagine the energy of a national SAMA meeting continued on a local level.
How to Create a Regional Mosaic Group by Sharon Plummer
Starting a regional mosaic group in your area is easier than you think. Here, one of the founders of MOSAICO, Society of Houston Mosaic Artists,
shares her success in creating what she calls “year-round inspiration and camaraderie.”
Starting a local Group
Locate mosaic artists in your area.
The new SAMA Member Directory
lists members who elected to be
included by actively “opting-in.”
Members of the MAO Yahoo group
can post information about a
regional group in FILES.
Review the list of attendees at the
annual SAMA conference (included
in the registration packet).
Find SAMA members in your state
who have websites in the “View
by Region” list on the “Member
Websites” page within the
“Members Only” section.
Determine a convenient date,
time, and location for an initial
meeting. At this meeting, assess
level of interest and discuss
frequency of meetings, locations,
group structure, group goals, etc.
Begin meeting on a regular basis
and continue discussing group
structure and goals.
Formal group with officers,
reporting of minutes, and
membership dues?
Casual group with members
sharing organizational
responsibilities?
Occasionally conduct a
process review to make sure
that structure, goals, and
activities of the group are in line
with members’ needs.
Decide how to handle group
communications, photo posting,
sharing of files: Consider setting
up a Yahoo group.
Recruit new members.
Consider a group website.
Create group business cards.
Publicize group activities and
meetings in local publications
and online arts calendars.
Talk about the group in
social settings.
MOSAICO members attend a weekend retreat in Rockport, Texas, just one of the many perks of a regional group.
Back row: Susie Curry, Sharon Plummer, Sheri Lapin, Penny Laird, Anne Krum. Front row: Tania DeJohn, Lisa Bonin.
Imagine having a team of personal coaches immediately accessible for mosaic inspiration, consultation,
technical advice, encouragement, collaboration, and celebration.
This seemingly fantasy-world is a reality for mosaicists in Houston, Texas. MOSAICO, Society of
Houston Mosaic Artists, is a thriving group organized in September 2005.
Our fun-filled, educational gatherings have become a monthly highlight—and we carefully guard the second
Saturday of each month to avoid scheduling conflicts. Frequently someone demonstrates a special tool or technique,
then members display recently completed pieces and works in progress. The 20 members come from all
experience levels. Meetings average 10 to 12 attendees and take place in our homes and studios. We meet for
about two hours and then head to a nearby restaurant to continue conversations over lunch.
We’ve mounted two group shows, participated in another show, and been involved in two community
projects. Several members have collaborated on commissions. Another nice benefit is buying supplies in
quantity to receive discounts and sharing the products and savings.
Last fall we decided to downplay the promotion of individual artists’ business activities and realigned
our goals to become a support and inspiration group only. We ended membership dues and discussed
what to do with the funds in the treasury. A member suggested contributing the money to SAMA’s Robin
Brett Scholarship Fund, and the group immediately recognized the appropriateness of that act in supporting
mosaic education and training.
That contribution got us thinking about how fortunate we are to have an organization like SAMA that
provides such incredible support of our passion for mosaics. The services and opportunities we receive
are unmatched by any other professional or arts organization we know of. We decided to show our appreciation
by making a group contribution of $1,500 to become a Bronze Circle sponsor of the 2008 SAMA
conference. Our collection effort has begun again for the 2009 conference. We feel really good about playing
a part in the successful operation of an organization that has promoted our individual development
and actively promotes the appreciation of mosaic art to the public and the arts community.
Photo: Sharron Plummer
For more information about
MOSAICO, visit www.mosaico.ws.
Sharon Plummer fell in love with mosaics 10 years ago, works primarily in bright colors of all tesserae types, and especially enjoys
creating garden art. www.flickr.com/photos/plumartmosaics. To see more MOSAICO images, please visit the SAMA website.
4 Society of American Mosaic Artists

Create interaction through reflected light and movement that goes beyond the mosaic surface.
Artist Profile
Confessions
of a Texture
Junkie
by Kelley Knickerbocker
Hi. I’m Kelley, and I’m a glass texture junkie.
The visual depth and light-handling
properties of glass hypnotize me like the
goodies in the window of a French pastry
shop. Resistance is futile…
33° F, 2007
Photo: Kelley Knickerbocker
In 2005, when I took my first mosaic class with Laurel True at the
Institute of Mosaic Art (IMA), I noticed that the mirror elements in
much of her work added an element of interaction: any movement
in front of the mosaic becomes part of the mosaic. I filed that intriguing
thought away and began working primarily in unglazed porcelain.
Soon, though, I couldn’t resist mixing glass in with the unglazed
porcelain for the tasty contrast between its shiny depth and porcelain’s
matte opacity. I also enjoyed the texture produced by mixing different
heights of glasses and porcelains. That led me to explore what surface
textures (muffles, ripples, etc.) were available in stained glass. There
were some, but I discovered that clear architectural glass was available
in a full-on patisserie of textures. My fall was imminent.
Coincidentally, I live just around the corner from a commercial
stained glass studio and retailer housing a limitless supply of textured
architectural glass. How cool is that?! Grids, crackles, dots, vines,
veins, swirls—bring on the éclairs! I remembered that intriguing idea of
creating interaction through reflected light and movement, and imagined
creating a similar interaction by layering a field of clear textured glass
over plain glass to capture the color, light, and movement occurring
beyond the mosaic surface (In Relation To, 2007). I was in heaven.
But like any junkie, I craved more. I wanted more height variations in
the tesserae. I got to thinking that if I were to mix tall chunks of smalti
transparenti with the clear textured glass, get rid of the grout so that
there was no impediment to light pass-through, and group some regular
smalti and Karma glass next to the field of transparency to dramatize
the contrast between opaque and transparent, I would create a sublime
textural experience. And what the heck, why not put the whole thing
on a mirror substrate for a twist on the “Laurel True Effect”? Light and
movement would be reflected in the mirror and distorted by the gazillion
textures of the architectural glass (33° F, 2007)! Now we were talkin’!
Could I stop there? No. The mirror substrate offered more
possibilities. What if I put translucent glass over mirror, then in some
places stairstep a second layer, then a third? The first layer would be
luminous with light reflecting back from the mirror, and successive
layers would appear darker and would naturally form a 3-D “landscape”
effect (Love As Hail, 2008). I confess, I’m up to seven layers now (Oil
Meets World, 2008).
These days I teach my techniques so that I can spend time with
other junkies. Please, if there’s a Textureholics Anonymous group out
there, don’t tell me about it. I’m having too much fun!
Kelley Knickerbocker left a 22-year program management career with the University
of Washington in 2006 to found Rivenworks Mosaics (www.rivenworksmosaics.com),
which specializes in custom fine art mosaic for public, commercial, and residential settings.
She teaches textured glass and stacked glass techniques through Seattle Stained Glass.
www.seattlestainedglass.com/classes
Society of American Mosaic Artists 5

Travel, Mosaic Style
b y L y n n d e h n C a r p e n t e r
Of course there’s the White House, the Lincoln Memorial, and such, but Washington, D.C., has much more to offer those
interested in mosaic arts. Here, an insiders’ guide to beautiful spaces in lesser known places.
In Washington, D.C., as in many other cities around the
world, the best known mosaic sites can be found by visiting
numerous churches and museums. But there’s also a wealth of
mosaic art in other spots throughout the city, creating beautiful
spaces in lesser known places.
Any mosaic tour should start with the largest, most noteworthy,
and inspiring collection of mosaics in the nation’s capital:
The Basilica of the National Shrine of the Immaculate Conception
(www.nationalshrine.com). Mosaics varying from ancient to
modern styles adorn the exterior dome, the soaring vaulted
ceilings,the o rnate arches, and the individual chapels throughout
the shrine. From the gigantic and powerful mosaic of
Christ in Majesty, the centerpiece of the upper church, to the
gently undulating blue mosaic walls of Our Lady of Guadalupe
Chapel, this location is a must-see for mosaic artists.
A heavenly pageant of saints and other sacred images in the
Byzantine style of mosaic are found within the gilded sanctuary,
nave, and balcony of Saint Sophia Greek Orthodox Cathedral
(www.saintsophiawashington.org). Biblical passages, large
panoramic scenes of the Umbrian hills, and religious icons
are spectacularly depicted in mosaic throughout the Cathedral
of Saint Matthew the Apostle (www.stmatthewcathedral.org).
See additional examples of traditional iconic mosaics along the
Rosary Portico, garden paths, and near the entrance into the main
church of the Franciscan Monastery (www.myfranciscan.com).
Two beautifully executed freestanding 17- foot by 51-foot
mosaic murals are artistic focal points in the lobbies of the
AFL-CIO headquarters. The viewer is instantly riveted
by the symbolism of workers’ labor and by America’s achieve
Both of these stunning mosaics created in American marble,
Italian glass, and gold were executed by skilled union
craftsmen under the direction of American muralist Lumen
Martin Winter.
A tour of the Jefferson Building of the Library of Congress
(www.loc.gov/jefftour), takes you along Italianate mosaic
floors and unpolished marble mosaic corridors, and past mosaic
vaulted ceilings. On the second floor, atop the grand central
staircase, is a larger-than-life mosaic of Minerva designed by
Elihu Vedder. The Members of Congress Reading Room is not
open to the public, but the two large glass mosaic murals
within may be seen by special tour or on the website.
Notable public mosaic installations are part of the Metro’s Art
in Transit Program (www.wmata.com/about/intro/index.html)
and the Ronald Reagan Washington Airport Art Program
(www.metwashairports.com/reagan/dca_art_program).
The long exterior mosaic frieze surrounding the entrance of the
Anacostia Metro Station vibrantly highlights the rich natural
and social histories of the area. The geometry of the Glenmont
Metro Station and walkways are softened by the stylized mosaic
images of birds, stars, and sky of the long friezes overhead.
The New Carrollton Metro Station parking facility is enlivened
by the bright splashes of colorful glass mosaics imitating the
dawn and dusk skyline. These public works and the ten terrazzo
floor medallions found at Ronald Reagan Airport (terminals
B and C) exemplify the collaboration between architects
and artists.
Last but not least, there are two endearing community mosaic
projects in Washington. The 300 cheerful mosaic figures of
Hopscotch Bridge that tumble their way across the H Street
Bridge were created by inner-city youngsters selected through a
competition and the recommendations of art teachers. The other,
Roots & Dreams, The YuMe Tree, covers the side of the CVS
pharmacy at 500 12th Street SE. More than 1,000 neighborhood
children made and signed every ceramic tile on the mosaic tree,
expressing their hopes and dreams for their neighborhood.
Lynndehn Carpenter, is a Washington, D.C., area artist, and co-organizer
and author of the “Mosaics of Washington, D.C., Area” tour and guidebook
(SAMA 2005).
Photos: Lynndehn Carpenter
The tour book created for the Washington D.C. 2005 conference is still available on the second page of the Publications section of the SAMA Shop website.
You’ll find detailed information about sites in D.C., Maryland, and Virginia. Metro stop information and walking directions are also included.
Dumbarton Oaks, a little-known repository for a historic collection of books and images of mosaics of the Byzantine era, features the early 20th century
collection of Robert and Mildred Bliss. Today their former estate in Georgetown houses a Harvard Research Library and a small gem of a museum where
you can literally walk on ancient Roman mosaics while viewing an amazing collection of Byzantine and Pre-Columbian art, including mosaics, metal, glass,
and pottery. The estate is surrounded by fabulous gardens containing a large pebble mosaic fountain and more mosaics on the walls of the poolhouse.
Dumbarton Oaks supports scholarly research through fellowships and grants and publishes books such as Mosaics of Hagia Sophia, Istanbul.
–Gwyn Kaitis

Detail of the ceiling of Saint Sophia Greek Orthodox Cathedral.
Detail of central figures of Labor Omnia Vincit-Virgil mosaic mural at the AFL-CIO
Headquarters representing man as provider and protector of the family.
Neighborhood youth express their hopes on each tile of ROOTS & DREAMS,
The YuMe Tree.
Christ in Majesty, the centerpiece of the upper church of the Basilica of the National
Shrine of the Immaculate Conception.
Detail of a 4-foot by 7-foot panel of River Spirits of the Anacostia frieze at the
Anacostia Metro Station.
Unpolished marble mosaic adorns the vaulted ceilings at the Jefferson
Building of Library of Congress.

A $1,500 fine for a mustache? Be prepared when an OSHA officer comes calling.
Ask A Pro
OSHA: What You Need to Know by Josh Blanc
The president of the Handmade Tile Association and owner of Clay Squared to Infinity shares what he and a fellow artist learned the hard way—
how to work toward health and safety compliance.
A
Minnesota Occupational Safety
and Health Administration (OSHA)
compliance officer stopped in unannounced
to North Prairie Tileworks (NPT)
this summer. Roger Mayland, a friend of
mine and owner of NPT, says he was surprised
but felt he had nothing to hide. The
officer spent the day with NPT studying how
the staff worked and reviewing the safety
and health issues and practices. While he
was there, an employee with a mustache
put on a mask while doing general work
and NPT was cited for a violation in excess
of $1,500 (later, through negotiations, the
fine down was reduced to less than $600).
The same officer stopped in and did three
periods of reviews of my studio, Clay Squared
to Infinity (CSI). No silica dust was present,
which was OSHA’s main reason for doing the
review. However, we were cited for lead on
the premises. There were no signs of it being
airborne, which is OSHA’s main concern, and
there is no standard for what is an acceptable
lead level, so we could not be fined on
that issue. CSI was also cited for not having a
health and safety manual; we were required
to complete one within 25 days.
We certainly heard the message that all
mosaic artists need to be aware of: Health
and safety are important issues for anyone
working in tile and mosaics. OSHA has a list
of health and safety requirements worth following
whether an officer shows up at your
door or not—and the rules apply to you even
if you do not have employees. OSHA also
offers a free consultation so you can have
your workspace assessed without fear of being
fined. I highly recommend this. Safety
grants of up to $10,000 are available to studios
for health and safety improvements (see
http://www.doli.state.mn.us/grants.html).
I had never expected OSHA would inspect
my shop and had never checked the OSHA
website to learn what I should be doing by
law. For the most part, I was doing things
correctly, but there’s always room for improvement.
For instance, I now label everything
so anyone in my studio knows what
is potentially hazardous and what is not (a
very important issue to OSHA). If you have
employees, you must post written guidelines
and material safety data sheets (MSDS).
Each state has specific rules to be followed.
Save yourself stress and potential fines by
taking the time to read up on mandatory
regulations and understand what is expected
of you.
Safety Dos
and Don’ts
Always wear safety
glasses, mask, and
rubber gloves when
using any form of
cement or thin set.
Safety grants of up
to $10,000 are
available to studios
for health and safety
improvements (see
http://www.doli.state.
mn.us/grants.html).
Photos page 8 and 9: Shug Jones
Tell us
what you’d like
to read or write!
Send your
story ideas to
groutline@americanmosaics.org
8 Society of American Mosaic Artists

How to build a blacksplash to last a lifetime (or remove when ready).
Step By Step: Create a Mosaic Backsplash on Backer
Board Using the Direct Method by Shug Jones
Task: You want to use the direct method to
create a kitchen backsplash on a substrate and then
attach it to the wall.
Challenge: You may want to remove the
mosaic at a later time.
Steps:
1 Measure the area you want to cover with mosaic
and cut a piece of backer board to fit.
2 Find the studs in the wall behind the mosaic,
and mark these locations on both the wall and
on the backer board.
3 Pre-drill countersunk holes in the backer board
for use when attaching the mosaic.
4 Use a pencil to draw your pattern onto the
substrate.
5 Adhere tesserae to the board, being careful to
omit the pieces that will cover the pre-drilled
holes. Cut the tesserae that will be used to
cover the holes and set aside.
6 Before grouting, use tape to mask the pre-drilled holes.
7 After grouting, remove tape covering the holes.
8 When the grout is dry, position mosaic on wall,
lining up pre-drilled holes with coordinating marks
on wall. Attach the mosaic using flat-head screws.
9 Take a photo that will show the location of
the screws. Print out the photo, use a marker to
circle the screws, and file it away for use when/if
you want to remove the mosaic.
10 Take the pre-cut tiles you had set aside and,
using silicone caulk, glue them in place over
the screws. When the tiles are secure, grout
around them.
11 If you ever want to remove the mosaic, carefully
remove the grout from around the tiles before
gently prying them out. Remove the screws and
then the mosaic.
Shug Jones, co-owner of custom design-focused Tesserae Mosaic Studio, Inc., in Plano, Texas,
teaches various fine art mosaic workshops around the U.S. www.tesseraemosaicstudio.com
3-5
1-2
6-8
Society of American Mosaic Artists 9

SAMA offers an extensive network of support.
American Mosaic Summit – San Diego ‘09
8th Annual SAMA Conference
San Diego, California March 25-28, 2009
Conference Schedule Highlights
Stay tuned to future issues of Groutline,
Andamento, and the SAMA website for updates.
American Mosaic Summit
San Diego 2009 – The Basics
Conference Fees:
$185 Early Registration
$250 Late Registration
$375 Walk-in registration (if available)
Workshop fees are additional.
REGISTRATION OPENS December 1, 2008
Accommodations
Hotel: TOWN And Country Resort
And Convention Center
500 Hotel Circle North, San Diego, California 92108
Tel: 619-291-7131 http:// www.towncountry.com
Reservation Cutoff Date:
Monday, March 2, 2009
Room Rates: $138 single / $158 double occupancy
per room
Members must mention SAMA to get the group rates.
Mosaic Arts International 2009
Entry Deadline: October 3, 2008
Notification of Acceptance Mailed:
November 1, 2008
Exhibition Dates: February 28- April 26, 2009
San Diego Museum of Man
1350 El Prado, Balboa Park, San Diego, CA 92101
Tel: 619-239-2001
www.museumofman.org
Conference Program
Presentations
Thursday, Friday, and
Saturday, March 26, 27, 28
2009 Conference attendees will
benefit from the wealth of mosaic
riches in Southern California and
San Diego County, as well as some
exciting new elements added to
SAMA’s traditional program offerings.
Thursday night programming begins
with a series of Professional Seminars
designed to address issues and concerns
of interest to members working
as professional mosaicists. On
Friday and Saturday we’ll hear from
acclaimed Southern California artist
and author, Laurie Mika; esteemed
mosaic scholar, Jean Ann Dabb;
and Tile Heritage Foundation
co-founders, Sheilah Menzies and
Joseph Taylor. On Friday evening,
attendees are invited to have “Dinner
with Niki.” A representative from the
Niki Charitable Art Foundation will
share stories and insights from the
inner circle of international artist
Niki de Saint Phalle over an elegant
dinner, followed by a champagneand-dessert
artist reception at the
Museum of Man. On Saturday, our
featured presenter will be worldrenowned
architect and sculptor,
James Hubbell.
Workshops
The most successful element
of each year’s conference is the
educational program. Workshops
focus on three main areas:
Professional, Business, and
Technical Development. Worldclass
instructors including Bill
Buckingham, Lynne Chinn, Gary
Drostle, Sophie Drouin, George
Fishman, Sue Giannotti, Sherri
Warner Hunter, Sonia King,
Laurie Mika, Matteo Randi,
Ilana Shafir, Laurel Skye, and
Kim Wozniak will share their
knowledge and expertise with
this year’s workshop participants
on Wednesday, March 25 and
Thursday, March 26. For a
complete and updated listing of
workshops and instructors, please
see the SAMA website and your
conference registration booklet.
OTHER
CONFERENCE HIGHLIGHTS
Vendor Marketplace
Thursday, Friday, and Saturday,
March 26, 27, 28
Mosaic Arts
International 2009
Champagne & Dessert
Artists Reception
San Diego, Museum of Man
7pm, Friday, March 27
Mosaic Marathon
Wednesday and Thursday,
March 25-26
Mosaic Art Salon
Saturday, March 28
Sponsor Appreciation
Cocktail Party
Friday, March 27
General Members’ Meeting
Saturday, March 28
Brown Bag Exchange
Saturday, March 28
Closing Night Fiesta
9pm Saturday, March 28
Mosaic Tours
San Diego County is a treasure trove of public art and has one of the
highest concentrations of public mosaic art in the country. Our San
Diego hostess and conference co-chair Kim Emerson has designed three
Magical Mosaic Tours scheduled for Wednesday, Thursday, and Sunday—
an incredible experience of exploration and discovery featuring the work
of Niki de Saint Phalle, James Hubbell, Kim Emerson, and more. Join us
on a wild ride of color and magic you will never forget.
Mosaic Marathon Returns! Wednesday and Thursday, March 25-26, 2009
Building on the overwhelming success of the
first Mosaic Marathon held at the 2007 SAMA
conference in Mesa, Arizona, we are bringing
this hugely popular activity back! Attendees
at the American Mosaic Summit 2009 will come
together to execute a large-scale mosaic masterpiece
to be donated to a San Diego charity.
All conference goers will have an opportunity
to participate in creating this work and help
SAMA leave its mosaic mark on a well-deserving
community.
The 2009 recipient will be the Bayside Community
Center (www.baysidecc.org), which has
a long history of serving the historic neighborhood
of Linda Vista with a myriad of social services,
health services, and programs in the arts.
Longtime SAMA member Elizabeth Raybee
(www.eraybeemosaics.com) will be lead artist
for the Marathon.
Sign-ups will begin early in 2009, after registration.
Volunteer shifts will be in two-hour increments
running Wednesday and Thursday.
There will be great networking opportunities,
wonderful learning experiences, and, of course,
tons of fun. A shuttle bus will transport volunteers
between the conference hotel and the Bayside
Community Center, a five-minute drive.
Be sure to leave time in your schedule to take
part in this memorable and rewarding experience.
Best of all, this is a TOTALLY FREE activity!
There is no charge to participate in Mosaic
Marathon, and everyone is encouraged to sign
up. Stay tuned for more information.
10 Society of American Mosaic Artists

Log on to the SAMA website for all your membership needs.
2009 MAI Exhibition Venue:
San Diego’s Museum of Man
To know that the San Diego Museum of Man is an appropriate setting
for the SAMA Mosaic Exhibition, you only need to know its mission
statement: The San Diego Museum of Man is a cultural and physical
anthropology museum. We collect, preserve, interpret, and communicate
evidence of human development, creativity, and artistic expression. We
teach people about people.
It all started in 1911, when San Diego began planning the 1915
Panama-California Exposition. The central exhibit, The Story of Man
Through the Ages, later grew into the museum located in the heart
of famous Balboa Park. Today it houses permanent and changing
exhibitions. You can examine the ways in which culture and climate
are intimately connected in Beyond Reasonable Drought. Or uncover
centuries of Latin America’s mysterious ancient past in Gods & Gold.
The museum’s showcase exhibit, Footsteps Through Time: Four Million
Years of Human Evolution, takes visitors on an exciting journey into
humankind’s long history. Other exhibits focus on Ancient Egypt and
the Maya civilization. To learn more about the museum, a work of art
in and of itself, visit www.museumofman.org.
SAMA is very excited to present the best of our members’ work in
the central entrance space of this popular world-class venue.
VOLUNTEERS IN ACTION
Sponsorship Committee—
Turning Industry Businesses
into SAMA Partners by Yvonne Allen
A dedicated group of SAMA volunteers has been busy developing
partnerships with mosaic-related businesses to help support the San
Diego conference. Sponsor support helps offset conference costs,
enabling SAMA to keep attendee fees at a minimum. Through their
financial contributions, sponsors raise their profile at the conference
and among SAMA members.
Sharon Plummer, SAMA Fundraising and Sponsorship Chair, says,
“SAMA members like to do business with companies that support our
organization, so increasing sponsor visibility encourages members to
patronize these businesses, making sponsorship a win-win situation
for everyone.”
We thank Sharon and her hard-working committee:
Martin Grey Jackie Iskander Artha Jackson
Sharon Morganti Carole Tarr Debbie Wahl
Dyanne Williams
If you would like to volunteer for a SAMA committee, email
volunteer@americanmosaics.org or yallen@americanmosaics.org.
Thank You to
SAMA’S 2008 Sponsors
President’s Circle Sustaining Contributors
Orsoni and Trend USA
Smalti.com and Perdomo Smalti Mosaicos Bizantinos
Gold Circle Sustaining
Contributor
Mosaic Rocks!
Silver Circle Sustaining
Contributors
LATICRETE
SAMA Board of Trustees
Wits End Mosaic
Bronze Circle Sustaining
Contributors
ArtfulCrafter.com
Cinca U.S.A.
D&D Tile
diMosaico
Maryland Mosaics
Miami Mosaic Academy
MosaicArtistsOrg
Mosaicist, Inc.
MOSAICO—Society of
Houston Mosaic Artists
Mosaic Smalti
Ranco
Sonia King Mosaic Artist
The Chicago Mosaic School
The Compleat Sculptor
Weldbond Universal Adhesive
Benefactors
Susan & Mike Jeffreys—
MadMosaic, Inc.
Jane O’Donnell—
Mosaic Studio & Gallery LLC
Advocates
Coatings By Sandberg, Inc.
Custom Building Products
Diamond Tech
ENO’s Design
Center/Wedi of N.H.
Hakatai
Handmade Tile Association
His Glassworks, Inc.
Jacqueline Iskander
MAPEI Corporation
Meshmount Paper
and Tape Company
Mosaic Station
Mosaic Trader
Murano Millefiori
Robert Severino
Spectrum Glass Company
SusanJablonMosaics.com
SWH Art Studio, Inc.
TeaMac, Inc.
Tiny Pieces—
Mosaic Tools & Supplies
Uroboros Glass
Joyce K. Ward
Wholesalers USA, Inc.
Youghiogheny Opalescent
Glass Co. Inc.
Friends
J. Paul Getty Museum
Laura Rendlen Fine Mosaics
BECOME A SAMA
SPONSOR!
contributions@americanmosaics.org
Society of American Mosaic Artists 11

SAMA Member’s Mosaic in Guggenheim by Shug Jones
Photo courtesy of Orsoni
Antonella Gallenda, SAMA member and maestra di mosaico at the Angelo Orsoni
mosaic atelier in Venice, has created a portrait of the late art lover and collector,
Peggy Guggenheim. The portrait, created in the glass enamels and 24k gold tesserae
hand-crafted at the 19th century Venetian furnace of the Orsoni foundry, was presented
to the museum that bears her name on August 26 at a jazz concert performed in
celebration of her birthday, part of a series of events commemorating the 60th anniversary
of the Peggy Guggenheim Collection. The collection, which is housed at Ms. Guggenheim’s
Venice palazzo along the Grand Canal, contains works by some of the most prominent
modern artists of the 20th century.
“When we entered the Guggenheim, the portrait was on an easel near the main entrance,
so that everyone could see it,” says Antonella. “Before the beginning of the concert the
director of the museum, Mr. Rylands, introduced the evening’s program and talked about
the Peggy Guggenheim mosaic. And it felt like she was there, enjoying the music and that
special evening. How you can imagine I was really moved and excited. It’s a great honor
to have my work at the Guggenheim, so great that maybe I’m not completely aware yet of
the magnitude.”
Inspired by a photograph of Guggenheim wearing her signature Surrealist sunglasses
made for her by Edward Melcarth, Antonella worked in the genre of “Modernism” using
a technique originated by maestro Lucio Orsoni for interpreting mid-century monochrome
photography into mosaic portraiture. She intensified the essential flatness and limited
color palette of the image by placing the tesserae vertically.
Register
for the 8th Annual SAMA Conference
San Diego, CA • March 25-28, 2009
P.O. Box 624
Ligonier, PA 15658-0624
Non–profit Org.
US Postage Paid
Permit 6803
Dallas, TX
Advertise your products or services
in Groutline beginning with the
2009 Winter issue.
For rates and information, email
advertising@americanmosaics.org
or call Brian Felix 951-204-7887.