A tragic incident of self-immolation at Neyyantikara in January was the springboard for Santhosh Vadakkedath’s work, Anarchy of Hope . Traditionally, mosaic art is identified with Greco-Roman murals, stained-glass Bibilical images and still-life themes. This depiction of a news item in shades of yellow, orange, red and black stood out amid other works displayed at Mosaic, a group show of six artists, at David Hall, Fort Kochi.
E.M. Jospeh, who helmed the show and tutored Sajeev AT, Rajesh Thattasseri, Kunjamol, Paul George and Santhosh, says that very few in India practise mosaic art. This is because “it is exhausting and has too many technicalities”.
Though not taught in art schools, there are plenty of hobby classes that teach mosaic art, which involves, composing and designing, cutting out the tiles, pasting, grouting or filling the crevices and polishing the final piece. Joseph, who learnt the art from his father who had interned with the mosaic artist V Balan, began by undertaking stained glass mosaic work for churches, he has done over 40 pieces for churches mostly in Andhra Pradesh, and now wishes to popularise it. Among his early works are images of the Resurrected Christ and Infant Jesus.
He points out that this art form is decorative and is seen at swimming pools, outdoor landscapes, floors and even on photo and mirror frames. “Different materials such as ceramic tiles, stones and glass can be used,” he says.
Attention to detail
Bengaluru-based artist Sarah Kurien is working on a 10x10 ft Greek-themed mural as a balcony piece. She is perched on a ladder adding finishing touches to a blue door around which she will add pink bougainvillea. Through her company Tesserae India, Sarah takes up commissioned work on planters and patio tables besides wall panels and on curios. She feels that mosaic art “has lot of potential. We can take it to the level of fine art as seen in Metro rail pillars in Brazil that depict rainforests. They are gorgeous and full of fine detailing. In Europe, mosaic art can be seen on tombstones, urns, garden planters, patio tables apart from regular wall panels,” says Sarah who dreams of doing a park wall in mosaic.
The mosaics she saw in churches led Delhi-based Renu Sharma to this art form. “I discovered the brilliant work of foreign artists through social media and saw the possibilities of using glass tiles,” says Renu who was a children’s books artist before she turned to mosaic.
“I like to use pieces of glass as strokes of brush,” she says, adding that one can play with colours and textures of glass in mosaic. While she likes to create birds and flowers, “you can certainly take it to the level of fine art. It depends on the quality of material and intricacy of expression,” she says, adding that this depends on budget restrictions, quality of material and individual aesthetics. The tiles available in India are on par with imported ones, she feels, and the latter tend to push the price up. She estimates a 8x10 ft panel to cost around ₹25 lakh.
Rising awareness
Senior architect Ramesh Tharakan, who combines regional and contemporary architecture in restoration, has used mosaic art as borders and around water bodies during landscaping. “Architects use a glass mosaic called Bisazza from Italy. Though expensive, it has a vast range of colours and finishes. A thorough knowledge of its aesthetics and application will get the best results,” he says.
Well-known artist Vandeepp Kalra, who is based in Kolkata, rues the fact that mosaic art is still nascent in India despite being popular globally. It is visible in many metro stations across Kolkata but not so much elsewhere. Vandeepp also laments that specific tools required for this art from are not easily available.
Artimozz, a Delhi-based company that manufactures floor and wall materials, offers mosaic art as a product. Sunny Gupta, the proprietor who has trained his workers to create specific works at the factory in Delhi, says, “We have been in the business for 20 years. Mosaic art was not known earlier but now there is an awareness. The design and materials used for public art and for private individuals is different. High-end luxury work requires double the time compared to a commercial public project.”
At the Kochi exhibition, Joseph points to a work by Kunjumol, a domestic worker who learnt mosaic art when she was jobless during the pandemic. “She is not only proud of her work but also ready to assist artists. And this will fetch her some remuneration.”
