Interview with mosaic artist, Christina Macaulay.

Image provided with permission of artist

Where did your interest in mosaic begin?
Mosaic more or less found me. It was at a period when I was seeking a path into a creative life for myself. Although I had done creative things from a very young age, about ten years ago I became very focused on finding a more focused creative path. One thing led to another and then, after dabbling a little in mosaics, I found myself undertaking a mosaic workshop in Italy and an intensive course with a well known mosaic artist in London.

What makes mosaic a fulfilling art form for you?
It absorbs me and I LOVE working with the colour and texture and scope of the materials. I can go into my studio in the morning and the next time I look at my watch it will be three in the afternoon, I really do become consumed in the process of creating the art.

How did you go about learning the techniques behind mosaic art?
My technical skills have developed from many areas. Of course the workshops in Europe that I mentioned earlier and other courses undertaken with skilled artisans when the opportunities arise. Very much through observation of ancient mosaic works. I am an avid researcher and a great believer in not re inventing the wheel. As a result I have developed a strong theoretical understanding of the technical elements of the art. And this informs my continual experimentation in the creation of my works.

How would you describe the style of your art?
Whimsical probably describes the work that I truly consider MY work. I have a style that relies heavily on the contrasts of texture and a unique approach to the use of colour and unusual materials in my works. I try to steer clear of literal reproduction of images; they are just not my thing. My pieces are a mixture of abstract interpretations but with the influences of historical or traditional imagery. I also enjoy producing decorative art pieces like the decorative fan collection.

What is the latest piece you have been working on?
I have just completed a beautiful work for a private client. The brief required me to draw on images of eastern symbolism and a strong flavour of Moroccan style. It is a two metre square “ Tree of Life” and it graces an external wall in an outdoor courtyard. I am starting now on preparing some small pieces for an exhibition in a city theatre foyer. I will create works that reflect the themes of the performance it will be showing with. It is a focus on the planets and the universe and comets and of course my interpretations are quite abstract.

Tree of Life- Images provided with permission of artist

What are some of the materials you use in your mosaics?
Anything I can get my hands on really, there are no boundaries. I love working in glass, I love it’s reflective quality. But also like to integrate metal, found objects and pebbles into my work. I tend to look at things and see that it would work in mosaic, so as a result end up with some rather unconventional materials in my works. I like to combine contrasting materials and anything that gives depth and texture to the work. I think it is one of the big advantages of the mosaic medium, the incredible range of materials that you can use in works.

Where do you look for inspiration when you are about to start a new artwork?
Well really my inspiration is drawn from the visual journeys of a lifetime. I have spent much of my life, and particularly over recent years, journeying through out the world and I lived and worked in Barcelona in Spain for a time. I have traveled extensively in Europe and through Northern Africa, Turkey, Morocco and Tunisia. I have a strong visual memory and somehow, when I am starting a new work, the smallest idea will catalyze that memory and it is often what I draw on to inspire me. I find my return trips to some of my favourite destinations will very much be reflected in the work that follows. It is not a conscious thing; it is quite subliminal the way the imagery evolves in the work. I did these wonderful minaret shaped sculptural pieces a couple of years ago (image below) and it was not long after my return from a trip through Tunisia and Sicily. Although I did not consciously design those works with the images of those countries in my head, when they were completed I stood back and thought, oh yeah, those so represent the visual landscape I have just experienced, and I am always surprised because it is so not a conscious process! I really love that.

Minarets- Images provided with permission of artist

Who or what has been the main influence in your work?
Not so much literally, but the richness of the work of Gustav Klimt is often represented in my work. And the whimsy of Gaudi and Hunderwasser. But really my work is very much driven by my great love of working with colours and textures and those influences come from just everywhere. It is about the way you look at things I think.

Can you describe one mosaic you have created that you would consider your favourite?
It is nearly always the last one. But in one way or another I am in love with them all. At the moment the tree of life is the absolute favourite. I did a table for a client last year which was very organic in its creation. The client and I worked up a brief for the piece but I had a lot of creative freedom with the work and it was a particular favourite.

What was the most difficult aspect of mosaic techniques for you to learn?
The use of the hammer and hardie is a challenge. They are the traditional tools of mosaic and they are tricky to use with precision. In Italy, students of mosaic have their first year of training completely dedicated to achieving mastery in cutting marble and glass with the hammer and hardie. They actually do nothing but cutting for the first year of their training. There are other tools that can be used for many of the materials I like to use, but there are some materials that are best cut with the hammer and hardie and I think I still have a lot of skilling up to do with it. But I love using it, I love the idea that I am using tools that have been in use in my art since the 2nd /3rd century.

Mosaicist interview continued on next page You can also book a class with Christina by clicking here!
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