Glass artist Josh Simpson’s vision is as vast as the universe, an unlimited landscape that stretches from the mysteries of the ocean to the far reaches of space. Since he began to explore the secrets of his ancient craft more than 30 years ago, Simpson has created a persona every bit as fantastic as his remarkable work.

"I can’t say that I had a detailed life plan when I was first captivated by glassblowing, or had any notion of where it would take me," Simpson laughs. " Even now, I never know quite where I’m going until I look back and see the progress."

Self-taught, Simpson used his life savings, which totaled $306, to rent an isolated tract of land in Vermont, land-build a studio, sew himself an 18-foot cloth tipi to live in, then set about cracking the secret of iridescent Tiffany glass. He succeeded, and then moved on to develop a reputation as one of the foremost contemporary glassblowers in America.

Simpson has become particularly well know for his Planets. This evolving series suggests intricately detailed miniature worlds, reminiscent of the rounded shape of the Earth as photographed from space. And if his imaginings about space and the nature of the universe ever grow dim, he can turn to his wife, astronaut Cady Coleman, for firsthand inspiration.

Megaplanet (Large) by Josh Simpson

As an extension of his Planets, Simpson developed Megaworlds, a series of large, heavy glass sculptures. To create a Megaworld, Simpson must direct his skilled glass team in a precise, carefully choreographed collaborative effort.

"We look like a bunch of football players trying to do ballet. It’s a challenge to control an 80-pound ball of molten glass on the end of a five-foot-long blowpipe; the physics are definitely working against you. My team knows what to do, working through experience and few words. You must be precise and graceful, as well as extremely strong, because the glass is so responsive and alive."

Encoded IV, 2008 by Rhonda Heisler

A Mosaics Q&A with Rhonda Heisler
We asked New Jersey mosaicist Rhonda Heisler, an officer in the Society of American Mosaic Artists, to comment on current trends in this compelling art form.

Why the fascination with mosaic art?
Mosaics are experiencing a renaissance in the U.S. and abroad. You see evidence in both the quantity and the quality of mosaic art being produced and the degree to which architects and designers are incorporating commercially designed mosaics into homes and public spaces as expressive focal points or sophisticated backgrounds texture. The growth of mosaic fine art is an important aspect of this trend, as contemporary artists are drawn to mosaics by way of its rich traditions, creative possibilities, and technical challenges.

What makes mosaic unique among the art media?
Few media provide such powerful and direct testimony to the process of artistic creation as mosaics. The finished piece is the product of literally thousands of interrelated decisions, the mosaicist selecting from a broad array of exquisitely tactile materials, then cutting, manipulating, or editing each piece (called a tessera, plural form tesserae) and positioning it just so, for maximum visual and expressive impact within the design. The process is very labor-intensive, to be sure. But as the artist will tell you, making a mosaic can be meditative, highly intuitive, and a labor of love.

It’s common for a viewer of mosaic to move in as close as possible to focus on a small area or to admire the intricate patterning and surface detail, then step back to take in the interplay of the various elements and the composition as a whole. It’s this duality of focus, this tension, that makes owning mosaic art an endlessly fascinating process of discovery. Not only that, mosaic art is eminently collectible and well-priced.

Tell us more about the materials and techniques being used in contemporary mosaics.
Today’s mosaicist can select from a variety of luscious materials that, until quite recently, simply were not widely available in this country. In addition to traditional materials like marble and stone, glass (stained, mirrored, and vitreous), and ceramic tile, artists are working in Italian and Mexican smalti (enameled glass with a unique depth of color and surface texture), tempered and fused glass, and found objects. Organic materials and fossils are finding their way into mosaics, along with beads, polymer clay and asphalt, metal, and handmade ceramics.

We see mosaicists mixing conventional and unconventional materials in surprising combinations and new formats. Others are using new industrial materials to depict traditional themes and narratives. Andamento, the placement of tesserae in a flowing pattern to suggest movement and rhythm, is a hallmark of the fine mosaics and can be a signature feature of an individual artist’s style. Mosaicists are working in both two- and three-dimensional formats, from small-scale work to large murals and public art projects. Some are experimenting with bas-relief and trompe l’oeil effects. It’s an exciting medium, ripe with creativity and innovation.

What do mosaics lend to their environment? Why are they a good solution for public art projects?

The work has a strong physicality and an often shimmering presence that simply does not transmit in a photograph but looks great on the wall, where the field of tesserae creates stunning color and textural effects that modulate with the changing light. Mosaic is well-suited to large-format work, durable, and colorful. This makes it a versatile selection for interior or exterior wall-oriented or sculptural work. The mosaicist working on a public art commission often can incorporate materials and themes that give the piece a strong geographic or historical identity. Sometimes such mosaics are community-built, promoting local pride and signaling an investment in the community where the piece is situated.

How do I commission a mosaic?

Most professional mosaicists welcome site-specific commissions, either for portable panels, installation pieces, or sculptures. Mosaics can be custom-designed, customer-colored, and custom-sized to fit client requirements. Many of the best mosaicists are trained in fine arts and welcome the opportunity for hands-on involvement in all phases of the project: design, production, and installation. This is preferable to picking a pattern from a book or asking a painter to provide a color rendering for mosaic fabrication, since only someone who speaks the special language of mosaic can take full advantage of the unique properties of the material.

Most mosaicists charge a design fee that can be applied to a project once a contract is signed. Keep in mind that mosaic production can be slow, so allow ample lead time. Note, however, that a mosaic artist often has a selection of ready-to-hang work that may suit your requirements.

Tell us about SAMA, the Society of American Mosaic Artists.

This non-profit organization, founded in 1999, is at the center of mosaic art activity in the United States. Its members are artists, instructors and scholars, mosaic enthusiasts, and industry partners, all dedicated to educating, inspiring, and promoting excellence in fine mosaic art. Major programs include a yearly conference with an impressive array of workshops and presentations, annual juried (Mosaic Arts International) and non-juried (Mosaic Art Salon) exhibition opportunities, a quarterly newsletter, and a scholarship fund. A visit to the SAMA website, www.americanmosaics.org, is the perfect place to start your exploration of contemporary mosaics. You’ll find a Members’ Gallery and links to member websites, as well as information about conferences, exhibitions, and classes. Catalogs of past exhibitions and other publications are available in the online SAMA store.

Arbor Bowl, Blue by Ed Branson

The dinnerware gleams. Just-polished flatware flashes. Linens, shot through with silken threads, call out to be unfolded and spread across well-dressed laps. Assembled serving platters await a bounty of delicious dishes. Perhaps a few of the pieces gracing your holiday table have been made by artists, who add so much imagination and texture to your entertaining.

On this special day, however, you are the artist. You’ve shaken the last wrinkle out of the tablecloth. Straightened the last salad fork. Arranged the last stray bloom. Before the guests arrive, you admire your handiwork, savoring a moment of quiet triumph. More than anything else, it is your centerpiece that elevates the occasion. Rising above the table like a landmark, it reflects your creativity, your generosity of spirit, and your high hopes for the gather to come.

Here are a few ideas to inspire you as you plan your holiday centerpiece.

Blown glass ornaments are too lovely to limit to the Christmas tree. As seen here, paired with Ed Branson’s Arbor Bowl, they make an ethereal addition to a table fit for an elegant New Year’s Eve party.

Check back tomorrow for more ideas for incorporating art onto your table.