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Interplay: Texture & Luminosity An Exhibition Of Mosaic Art
November 7 through December 13
Gallery reception Thursday, November 6, 7-9 pm
20 artists from all over the Bay Area and beyond are participating in this group exhibit, co-curated by Pleasanton Mosaic Artist and instructor Glynnis Kaye and Harrington Gallery coordinator Julie Finegan. Laurel True, an internationally recognized mosaic artist and founder of the Institute of Mosaic Art , then located in Oakland, will be represented in the exhibit. Other artists, many of whom are instructors at the Institute, now located in Berkeley, are Carol Bevilaqua, Deborah Block, Debbie Callen, Randina Casenza, Carol Compton, Ilse Cordoni, Elizabeth Grindon, Glynnis Kaye, Michael Kruzich, Marthe Murray, Jill Stevenson-Ritter, Amy Neiman, Rachel Rodi, Vaishali Sanghavi, Wesley Wong, and Wilma Wyss. Many different styles and types of mosaic artwork will be on view, from a traditional, Byzantine approach, to contemporary styles and applications using a combination of interesting materials.
During the reception on Thursday, November 6, there will be a demonstration of mosaic-making in the lobby, and on Saturday, November 8, from 11:30 to 2:30, several of the artists will be in the lobby to assist with a collaborative project that visitors are encouraged to participate in. Michael Kruzich will be working with smalti and stone in the hammer and hardi method using techniques studied in Ravenna, Italy, and Glynnis Kaye will demonstrate using stained glass. Rachel Rodi will oversee the collaborative project which will be constructed with broken tile.
In the Lobby and Hallways of the Firehouse Arts Center
October 22 to December 10th, 2014
Daniel works in a process called Watertype Enso. Enso is the Japanese word for an uninhibited hand drawn circle. In Zen Buddhism, Enso is intended to express a moment when the mind is free to let the body create. The result is a series of works that are individual, like a watercolor, yet consistent, like a monotype and where the impermanence of water calligraphy is reversed and made permanent. Each work depends on the temperature and humidity of the day, and the state of mind of the practitioner. Variations in timing will change the solidity of the circle, the darkness of the background. Higher temperatures and lower humidities will generally solidify the circle, while the reverse conditions will have the opposite effect.