Earlier this year I was invited to create a portrait for an ongoing, international collaborative mosaic installation at The Ruins Project in Western Pennsylvania. The project, located on the Great Allegheney Passage, at an abandoned coal mine site, celebrates the rich history of the coal mining industry.
My subject, John Moskal, was born in 1887 in Poland, and immigrated to the United States in 1907. He joined other family members who already lived in Whittsett PA and began working in the coal mines. He, and other members of his family, worked in the mines, until it shut down in 1946.
This small black and white photo is the only one I received of him with a horse, to use as my reference. Definitely a challenge!
These are a couple other photos of a younger John with his daughter
& later in life with his wife, Kathryn.
I began by drawing several freehand sketches, coming up with a simple "cartoon"
from which to begin the mosaic work.
details of the work & color pallet
For his face I used Italian, Mexican & Chinese Smalti.
I started with the eyes, and worked outwards from there.
Next I moved on to creating his hat, altering the cap from the original image into a hard hat. I used the bottom of a crystal glass to represent the the miner's light. Ceramic & crockery shards were used for the remainder of the hat. I love the texture & interest that the crockery rims creates.
Next came his shirt & sweater, using a combination of marble and unglazed porcelain, to create additional textural contrast. I was delighted to find this horse image, in my stash of dishes, to button up his shirt.
Next came the all important horses, flanking the portrait/
Again starting with simplified drawing as my guide.
I felt the need to use some metal pieces for the horses' bridles. I was thrilled when Rachel, the proprietor and creative genius behind The Ruins , found & sent me a few wonderful rusty bits (below) that were scavenged at The Ruins. Equally fun, was finding a way to incorporate them into the mosaic.
Rachel sent 3 small rusty circles, but I needed one more. I created a 4th, faux rusty ring, using metallic Mexican Smalti. The horses themselves are all marble and stone, cut by hand with the traditional hammer & hardie. I also found glass taxidermy eyes in my stash, which give them a realistic look. One in particular, is forever staring back at the viewer!
Once the horses were complete, I moved on to
grouting the hat & sweater sections.
The portrait of John Moskal, Master of Horse, complete & pieced together!
It was my intention to visit The Ruins in early September to install the work myself, but due to the ongoing pandemic situation, alternate plans have been made. The mosaic will be shipped to The Ruins & installed by Rachel, before the cold sets in!
To get ready for shipping, I laid out all the pieces, taped & marked them for installation alignment, and wrapped each section for safe shipping.
Next time we see Mr Maskal, he'll be part of The Ruins Project landscape!
Thank you Rachel for inviting me to be a small part of your larger vision.
It's an honor to hang with the ever growing international list of artists
whose work is already, and has yet to be, installed there!
I anxiously await what comes next & being able to visit in person!
My meditative mosaic continues to grow.
Here is where I last left off... (see previous post)
A few details thru the magnifying glass!
As I run out of material, which is quickly happening with most of the materials I started with, the search for additional materials intensifies! With each new material I try to find a way to create smooth transitions. All the while, working intuitively on one area at a time.
In this section I introduce polished hematite stones.
"Hematite grounds and protects us. It strengthens our connection with the earth, making us feel safe and secure. It endows us with courage, strength, endurance and vitality. A "stone for the mind", Hematite stimulates concentration and focus, enhancing memory and original thought."
Finally, I stopped by our local Earth Products business, fortunately its just down the road from me, for more slate. I collected several types, each with its own properties and learning curve when it came to chopping it up. The lighter color is the most flakey, and the darker, much harder.
I started with an outward burst using the soft, sandy colored slate, interspersed with colorful smalti (glass).
Most recently I've begun introducing some larger chunks of slate, layed flat, and at last, pottery shards are thrown into the mix. I still don't know where this is headed, & I'm fine with that. I'm enjoying the process and being in the moment as I select & set each piece.