Do you feel being an artist is innate or can it be learned? Which way was it for you?

I firmly believe that anyone can learn how to draw and create images, we all have the capacity to make art, however there is something else that some people have, a spark, or a vision that separates them and what they have to say creatively, maybe even just a need to say it. These are the artists whose work will endure and can really speak to us all. As for me, I know art is all I want to do, but whether it’s any good, in a way doesn’t really matter, that’s for others to decide, I just need to keep doing it if I can.

What artists have influenced your work (poets, mosaicists, street artists, painters, sculptors, writers etc.?)

Of course artists I admire change over time and as I discover new work, especially with mosaic art, but some influences remain constant. I have always been inspired by early art, from the cave paintings of Lascaux to Greek black figure vases (check out Exekias).

Believe it or not my first inspiration was TV entertainer Rolf Harris, with his big black and white TV studio paintings, I was also lucky enough to have an inspirational art teacher at school, after that comes the constant inspiration of Diego Rivera (Mexican muralist) and Joe Strummer (songwriter/ singer of The Clash), I wish I could get that feeling into my work.

On the mosaic front there is inspiration all around, I particularly admire Roman mosaics for their beautiful combination of pattern, illustration and economy. As for contemporary mosaic artist I am constantly amazed and inspired by the great variety and enthusiasm in our medium, a few artists who are never far from my thoughts are: Irina Charney; Dugald Macinnes; Marco Bravurra; Cleo Mussi; Maggy Howarth; Ilana Shafir… the list could go on.

When do you do your best work? How do the different seasons affect your work and why?

I do my best work in the afternoon, as a rule I tend to work Monday to Friday 10-6pm though extra work on commission applications and paperwork often slips outside of these hours. I am a bit of a deadline frenzy person, always getting things done at the last minute.

Here in London the dark winter evening make me want to stop work and slump on the sofa, the long days of summer are much more productive.

Do you visualize your art before creating? Or does it evolve as you’re in the creating process?

Because I nearly always work to commission a design is always done first so the client can visualize and approve the job before the hard work begins. These designs need to be quiet well worked out for the clients benefit, and also as on larger jobs I will often have one or two other artists working on the same project, for the benefit of my studio assistants.

However there is always an additional creative process that happens at the construction stage, this is very important for my mental state, or mosaic making might soon become a chore.

You mentioned studio assistants, how does that work?

Most clients are happy to wait about three months for a project, this means that for the larger commissions I need help to complete on time. I have one studio assistant who has been with me on and off for many years, Claire Notley.

Claire is the unsung hero of my work as she sits in the studio diligently laying tile and keeping the project on schedule, we have worked together long enough that she knows just how I want an area done by a few words and some scribble on the cartoon.

If things get really busy then I will also call in an extra pair of hands or two from the local area. This has meant that over the years I’ve had some great help in the studio including: Vanessa Benson; Liz DeAth; Mark Davidson; Katie Hellon; Virginie Hynna; and last but not least my wife Maria Starling.

What’s your favorite material and why? What’s your least favorite and why?

The core material I use is unglazed ceramic (Porcelain), which I love. It’s easy to cut, subtle and has a beautiful harmonious colour palette, which sits well with the surrounding architectural materials. I would also like to work more in stone, which I think I would really enjoy.

My least favourite material would have to be broken crockery, even though I have seen some good pique assiette works I just don’t know where to start with the stuff.

When did you first see yourself as a mosaic artist and how has that changed your life?

Mosaic art really crept into my work, I was working as a mural artist for some time before and mosaic just seemed to grow from that practice.

I can’t say there was a point where I felt I was now a mosaic artist, and one look at the work produced at the Spilimbergo School sometimes makes me feel I never will be.

Mosaic has changed my life though, that combination of excitement, enthusiasm, friendship, openness, democracy and magic that surrounds mosaic art and mosaic artists.

What advice would you give to a new mosaic artist?

Don’t panic and have fun, and keep looking at the mosaic world around you.

What is your biggest technical challenge as it pertains to mosaic art?mosaics

I guess I found the recent creation of a 25 foot high mosaic sculpture challenging technically in many ways, although another great thing about mosaic art is that the process is usually broken down into many simpler tasks.

The other big technical challenge that often crops up is the ever changing rules and legislation in the building industry: Health & Safety; Environmental legislation; Insurances and certification issues.

Though not strictly connected to mosaic these regulations have a direct impact on my working process, as they are necessary to complete the installation side of the work.

A big part of the problem is that they are geared towards very different organisations than an artist, requiring a lot of time and effort, and as fast as I think I have mastered them new ones come along.

How do you integrate your work as an artist with your family life?

As mentioned I do try to keep normal working hours, and I also try to make sure that I take holidays and make time for the kids, though I am aware I don’t always succeed. In general I don’t feel a distinction between my family and my work life, they are one.

Do you see your artistic life as something you do or something you are?

Something I am, as above, I know that because if I won the lottery I would want to just carry on working the same, except from a really plush studio.

Do you see yourself in a particular tradition of mosaic artists, based on style, technique,materials…or do you see yourself separate from any particular tradition?

I definitely see myself as part of a line that stretches back to mans first marks on a cave wall and within that a mosaic tradition too.

In fact I feel that mosaic and mural art has a stronger connection than much modern art, from my perspective of mosaic as an architectural art, one which is integrated into our environment, this art is essentially connected to environment, community and it’s place in time.

I am very aware of the mastery of Roman and Byzantine mosaic makers, though it is also good to see their mistakes as well.

From a technical point of view most of my work is completed using the traditional paper-faced reverse technique, as practiced by the Spilimbergo School, so here to the tradition shows through, though I am aware of many other techniques and variants on the reverse technique, such as using plastic, I see no reason to change this tried and tested method.

What were there significant points in your life as a mosaic artist that perhaps influenced you in a particular way or changed the direction you were heading at the time?

My initial mosaics were very much mosaic versions of my mural paintings but this has changed over time as I have discovered the unique elements of mosaic art and seen the work of inspiring mosaic artists.

A big change happened when I did my first mosaic designed by someone else, up until that point I had always designed mosaics that I knew I could make, but for this commission (Southampton East Park) I was given a design done by a print maker.

The design forced me to be creative in its translation, which really opened my eyes to the potential of mosaic.

How did you get trained?

I started out with Arthur Goodwin’s book on mosaic and a very helpful afternoon spent with a mosaic worker at a large Terrazzo factory in Leeds. More recently I have taken advantage of the great workshops available at the SAMA conference and the course at Orsoni.

What’s the most enjoyable or satisfying part about doing mosaic art?

I love getting into the detailed Andamento of a challenging section of the design, often I will start with these areas and then just fill in between them.

How did you discover your own unique approach?

Still looking for it.

Have you done any public art? Please talk about that, the things you like about that, how you got into doing public art, etc.

For me the public work came first, my starting point was to create works of art out on the street, where ordinary people would come into contact with them, this was a political decision from leaving art college. Mosaic then grew here from the need to have a medium that was durable for exterior locations.

I undertook my first mosaic commission (Sunburst Mosaic) with fellow mural artist Ruth Priestly, we were then trading as ‘WALLSCAPES’ and both of us became hooked on mosaics.

Later I was joined by painter Rob Turner, who also became a great mosaic maker. Rob and I traded as Wallscapes for 10 years creating murals and mosaics across the UK, then in 2001 we decided to go our own ways and I moved into my current studio in Greenwich, south east London.

I find creating work for public spaces very rewarding, I believe that artworks embedded in the environment are the true manifestation of our culture, I think that art lost an essential connection in time and place when it moved into the gallery to become a commodity.mosaic art

Every commission begins with the site so each job has new inspiration and a new starting point, I never have to worry about what to do next. I like researching new places, talking to new communities and developing designs that reflect their ideas.

Have you worked with school children or in programs where your mosaic art has been used as a medium to connect, encourage, instruct…please tell about your experience.

I have created many works which began in a school. Sometimes this has just been to create designs with school children, which are always so imaginative and exciting.

I have also created mosaic works with school children, as well as with adults, teenagers, people with disabilities, and other community groups. Mosaic is unique in it’s ability to absorb many hands and many differing levels of ability.

This is one of the magic properties of mosaic art. It can bring together communities; it can enable people to create when they thought they ‘couldn’t do art’; it can bring people together to create something beautiful and improve their own environment.

Unfortunately this type of work is very under valued and often is provided with a much lower budget than the direct commission, when it should be the other way round.

Comments posted to the site from fellow mosaic artists

Comment by Irit Levy on February 1, 2009

Gary, You are a real inspiration. I think one of the very first mosaic art that I saw (on the net) was your fish pond and I literally lost a breath. I still go from time to time into your website to look at it.

Comment by karla duterloo on February 1, 2009

lovely to have sort of 'met' the person behind this beautiful mosaic art work.

Comment by Concetta Perot on February 1, 2009

Its great to learn more about your mosaic journey Gary!

Comment by Britta on February 1, 2009

Great to read how you integrate mosaic art as a part of your life - it is visible in your mosaics.

Comment by Mary Denton on February 1, 2009

Gary, your work is beautiful. Your Fishpond has always been one of my favorites and one of the pieces that really made me start thinking of trying mosaics. Thank you.

Comment by Luz on February 1, 2009

Thank you for sharing and let us know more about the way you work and think. I am looking forward to meet you and hear you at SAMA this year....

Comment by Jennifer Blakebrough-Raeburn on February 1, 2009

Wonderful interview! Yes, your exquisite fish pond is also one of my favorite mosaics, and I have spent a lot of time just gazing at it with awe! I am so excited about meeting you and taking your Classical Andamento workshop at SAMA!

Comment by Brigitte Bezemer on February 1, 2009

Great interview,Gary and thanks for sharing. A while ago I visited the De Luci Fish statue and the columns in Erith and it was very impressive to see this in real with my own eyes, wonderful work!

Comment by Jacqui Douglas on February 1, 2009

hi Gary, nice to read more about you...thanks for sharing. Are you doing another book for BAMM soon?

Comment by Christine Brallier on February 2, 2009

Hi Gary, It was great to read more about you! I am so looking forward to meeting you at SAMA and taking Large Scale Mosaics with you!

Comment by Kathleen Dalrymple on February 2, 2009

I have seen your work online for a few years now and am very inspired by it! Thanks for sharing more about yourself. It in infinitely interesting to learn about the artist behind the art.

Comment by Julie Richey on February 3, 2009

Brilliant interview, Mr. Drostle! Can't wait to see you again in sunny San Diego!

Comment by martin cheek on February 3, 2009

well done Gary - us Brits RULE!!!

Comment by Antoaneta Stoimenova on February 3, 2009

Great interview ,Gary! Thanks for sharing your long mosaic journey with us.As Irit said you are a real inspiration.

Comment by Cristina Colli on February 4, 2009

Hi Gary, I enjoyed reading your interview, thanks for sharing! I always read your articles on "Grout" and love your work - particularly the fish pond and the Rodin piece. You're an inspiration!

Comment by Karen Sasine on February 7, 2009

Nice interview Gary. What is going on with your studio? What happened.... After reading your interview, maybe this is your chance to have "that really plush studio", although I can only imagine that your curent work space is amazing!

Comment by Leah on February 11, 2009

Well put. You just illuminated in a few answered questions so many aspects of "Mosaics." A great interview - thanks for sharing your story.

Comment by Sandy Robertson on February 16, 2009

Gary, loved reading your interview, you are amazing to say the least. I know what you mean about your family life and artistic life being "as one". cheers sandy

Comment by Deb Aldoon February 16, 2009

Gary, I finally sat down to read your interview and I am so glad I did. Thanks for telling us your story and sharing and inspiring us. As Martin says you Brits rule!