Want to know more about Mosaika? Check out the links and videos below…
Made in Montreal visited our studio and produced this tv spot.
Katharine Harvey – Florae mosaics at Chester subway station, Toronto, Canada from Katharine Harvey on Vimeo.
Meet Jason Jägel and his work, translated by Mosaika Art & Design, at the Harvey Milk Terminal of the San Francisco Airport, for the San Francisco Arts Commission.
RealClearLife Exclusive: Artist Chuck Close Gives Tour of His Work in NYC Subway
We interviewed with Mosaique Magazine about our project with Chuck Close and the Manhattan Transit Authority for the new 86 Street and 2nd Avenue Subway.
Read the full article here:
Mosaique Magazine – Juillet 2017
Tsą tsą ke k’e – “Iron Foot Place” – by Alex Janvier
Two Circles by Micah Lexier
Dixie Friend Gay speaking about her 720 ft² mosaic, fabricated by Mosaika using hand glazed ceramics, and installed in the lobby of the Weston Centre in downtown San Antonio.
“A Waltz With Water”, and more, in Dixie Friend Gay’s home studio.
Dixie Friend Gay discusses public art and her latest installation of three giant mosaic birds titled “Books of a Feather” at the Alice M. Young Neighborhood Library in Houston, Texas.
Arts InSight visits mosaic artist Dixie Friend Gay, whose murals enliven airports and terminals across the country from the PortMiami to Houston’s Bush Intercontinental Airport.
In this interview from 2011, learn more about how Teresita Fernández transformed the Blanton’s Rapoport Atrium into a place of welcome that surrounds visitors with color and illusion.
Demonstrating the artist’s remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience, Teresita Fernández: As Above So Below combines graphite and gold to create a series of immersive, interconnected installations whose scale shifts from intimate to vast, from miniature to panoramic.
Here, watch Ms. Fernández discuss As Above So Below with MASS MoCA curator Denise Markonish.
In celebration of the opening at Pérez Art Museum Miami, artist Teresita Fernández discussed her special exhibition “Elemental” and how her work has led her to this mid-career retrospective.
Cuban-American artist Teresita Fernández, who is based in New York, creates immersive, sculptural installations and monumental public projects defined by a rethinking of landscape that emphasizes the connection between place and material. Using gold, malachite, graphite, ironore, and other minerals that have loaded ties to colonization, she exposes the hidden histories of violence embedded in the landscape. Her subtle, conceptual practice is characterized by a quiet unraveling of site, power, visibility, and erasure in which she layers diverse cultural references to unearth what she calls “stacked landscapes.” In her recent show Maelstrom, at Lehmann Maupin, Fernández created works that unapologetically visualize the enduring violence and devastation ignited by colonization. Focusing on the Caribbean archipelago—the first point of colonial contact in the Americas—the works in the show challenge viewers to consider a more nuanced reading of people and place, one that looks beyond dominant, continental narratives and instead considers the region as emblematic of an expansive and decentralized state of mind. The artist conjures images of catastrophic weather and natural disasters as metaphors for centuries of injustice, US military intervention, ecological destruction, and systemic oppression as a means of reflecting on the sociopolitical turmoil and abandon to which the region and its populations have been (and continue to be) subjected. Fernández joins Hirshhorn associate curator Marina Isgro to discuss how she brings together concepts, materials, rigorous research, and evocative imagery.
Teresita Fernández invited us to be the first to film her renovated Brooklyn studio and the installation of “Paradise Parados”, her site-specific, monumental sculpture at the Brooklyn Academy of Music. Often using materials that relate to the landscapes she’s depicting—charcoal from burned trees, mined minerals, or reflective metals—Fernández’s work has a luminous, seductive beauty that draws viewers in, while unapologetically challenging us to think critically about the inherent violence of colonization and how it continues to shape our ideas about the land and one another.