The Journal of Australian Ceramics Vol 49 No 3 November 2010

Techn ical: Mosaic
The Shyness of Trees
Dominic Johns writes about an arts residency in Penang Malaysia
Working in regional Queensland, I spend countless hours alone in my studio constructing mosaics; but
I am lucky to have taken part in many residencies, some in schools close to Cairns, others in galleries
and community arts centres around Cape York and the Torres Strait. Residencies are my chance to get
out of the studio, providing me with human contact and a chance to demonstrate to others.
My recent residency at Hotel Penaga in Georgetown, Penang, was different, as it was about coming
together with three peers - Helen Bodycomb and Glenn Romanis (both from Victoria) and George
Fishman (from Miami, USA) - and working for a month together to create a piece of work for patrons
Hijjas and Angela Kasturi.
Fellow artist Helen Bodycomb and I co-wrote Adhesive Techniques for a Range of Applications
and Climatic Conditions, in which we sought to present a cohesive universal language of mosaic
adhesive techniques, accounting for the huge variations involved in the construction of mosaic
worldwide. Helen thought it would be great if we could organise a project that brought together several
key artists to experience these differences while working towards a common understanding from which
we could further develop the dialogues that exist within the mosaic world.
In 2006, Helen was a resident of Rimbun Dahan, the home of patrons Hijjas Kasturi (architect) and his
wife Angela, in Selangor outside Kuala Lumpar. After extensive consultations they agreed to host the
four of us in Georgetown at their new boutique hotel, Hotel Penaga .
As a lead-in to the residency, we took part in Art for Nature, the annual WWF exhibition hosted by
Angela and Hijjas at Rimbun Dahan. In April 2009, Helen and Glenn travelled with Angela and Hijjas
to the hotel construction site, also researching suppliers, tool availability and cultural sensibilities. A
photograph in the WWF exhibition by Erna Dyanty, The Crown Shyness Effect, caught the attention
of Helen and Glenn and helped to form the basis of our conceptual development for the artwork. I was
reminded of William Robinson's Revelation of Landscape 1992. It was initially proposed that we would
create a "river" (or pavement) of foliage and light using glass set within salvaged granite ballast blocks
linking the courtyards of the buildings which formed the hotel complex. However, before we left for
Penang, our original idea of the pavement changed to creating the work on a wall.
Our group arrived at Hotel Penaga in late March 2010. Celebratory gin and tonics and wonderful
Perakanan cuisine were the order of the day as we settled into the humid tropical heat. It was an
exciting feeling to be together after more than two years of preparation. The work began with a
review of the materials that had been delivered and the various tools we had brought with us. We
had two huge crates of architectural stone samples, about a tonne of coloured glass shards, several
kilos of Mexican smalti, and adhesive. The stone samples were exquisite, aliI 00 x 100 mm and various
thicknesses. Site carpenters made our worktable, benches and some knapping stands. As no one was in
charge of our strong-minded group, exhaustive debates followed as the concept was slowly resolved . It
was a relief when Angela arrived and listened to our proposal before remarking, "I'm sure whatever you
make will be good." It was her wish, she said, for them to provide us with the opportunity to create a
piece of work together.
s6 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010