As featured in MAANZ Opus Oracle article
A message from Giulio Menossi finds its way to my inbox at the end of June- I open it and find an invitation to be a participating artist at his 19th International Mosaic Symposium in Adana, Turkey, in October- a mere 4 months away. I am flooded with a mix of emotions sitting in the full spectrum from exhilaration to base fear and wonder if I can practically pull this off. Happily, I have recently retired from my previous career to focus on art full time so the timing feels incredibly right. I accept the invitation and make space for the fear encouraged by the words of my wise husband: “if you are afraid of this opportunity you should run towards it as fast as you can”. He is, of course, quite right.
How does an invitation like this from Giulio Menossi come about? It varies- from artists recommending other artists to interviewing past graduates from the Italian mosaic schools to previous attendees being invited to return. The process following this initial exchange is to receive and accept an official invitation from the city of Adana- a most generous city that has now hosted and funded four such Symposiums. One month before leaving the theme is shared: “Path of Freedom” and a request is made for artists to submit their design dimensions so that plywood pieces can be cut to size for each artist to work on. I submit my design and pack extra thermasheet to realise the form I have planned. I have a broad concept that I can be flexible with, knowing material amounts and colours can be variable. Caitlin Hepworth, who has participated in several past Symposiums, is in my back pocket with helpful advice so apart from my tools I pack a few extra things I may need- a little obsidian, some aluminum strips, apoxie sculpt, some hardware and acrylic paints.
On arrival at the airport in Adana, I am greeted with a welcome sign by our host, Lütfiye, whose joy and energy permeates through the whole experience from beginning to end. I meet the other 9 International artists and Maestro Menossi himself who all amaze with their skill, portfolios and multilingual abilities. Where language fails, Google Translate and sign language step in! As we work, we share our wonder at each other’s ideas and processes, learn tips and tricks and lament the mosaic artists’ necks and backs at the end of the long working days (9am to 6:30pm). Light relief is frequent in the form of guest musicians, singing and dancing and of course, tea, coffee and plentiful food, all announced by Lütfiye and her green bell. On the weekend we are shown the sights, locally and beyond (Zeugma Mosaic Museum in Gaziantep is one of many highlights). It is all beyond my wildest dreams to be looked after in such a way whilst being given this unique pocket of time, support and materials to create and publicly exhibit a large mosaic artwork.
As the deadline looms artists chip in with finding materials to get people over the line, helping with some cutting here, some painting there, some “what colour do you think?” advice and buckets full of encouragement. I was fortunate to learn about using charcoal as a material as I had a large area needing black and not enough dark value materials in the supplied mix of things to use. Maestro Menossi enjoys artists having to pivot and be creative which each one of us has to do in one way or another no matter how prepared. Of course, this is where some of the best ideas can spring from.
The opening night comes and we all see each other’s works beautifully displayed in the Adana Theatre Foyer and enjoy the feeling of having been through something unique and profoundly bonding.
Adana has now acquired about 60 mosaic artworks hosting these Symposiums and they are housed in various public buildings throughout the city. Plans are underway to display the works together permanently in a museum which will add to the already long list of fine reasons to visit Adana including but by no means limited to (and in no special order): Adana Kebabs, Hamam Museum, Baklava, Harem pants, Adana Archeological Museum, Varda Viaduct, Adana Grand Mosque, Adana Stone Bridge, Ayran (yoghurt drink) and the old town market.
I extend my deepest gratitude to Giulio Menossi, Neriman Güzel, Lütfiye Özer and the City of Adana for a truly unforgettable experience.
Barb Uhlenbruch
Participating artists:
Agnieszka (‘Aga”) Kwiatkowska, Poland
Alina Sakharova, Russia
Ayala Ibragimova, Kazakhstan
Beatriz (‘Bea’) Laborde, Argentina
Ceren Karabaki, Turkey
Giorgia Palombi, Italy
Hana Krichen, Tunisia
Neriman Güzel, Turkey
Philippe Ronzat, France
Barb Uhlenbruch, Australia
Art Director Giulio Menossi, Italy
A message from Giulio Menossi finds its way to my inbox at the end of June- I open it and find an invitation to be a participating artist at his 19th International Mosaic Symposium in Adana, Turkey, in October- a mere 4 months away. I am flooded with a mix of emotions sitting in the full spectrum from exhilaration to base fear and wonder if I can practically pull this off. Happily, I have recently retired from my previous career to focus on art full time so the timing feels incredibly right. I accept the invitation and make space for the fear encouraged by the words of my wise husband: “if you are afraid of this opportunity you should run towards it as fast as you can”. He is, of course, quite right.
How does an invitation like this from Giulio Menossi come about? It varies- from artists recommending other artists to interviewing past graduates from the Italian mosaic schools to previous attendees being invited to return. The process following this initial exchange is to receive and accept an official invitation from the city of Adana- a most generous city that has now hosted and funded four such Symposiums. One month before leaving the theme is shared: “Path of Freedom” and a request is made for artists to submit their design dimensions so that plywood pieces can be cut to size for each artist to work on. I submit my design and pack extra thermasheet to realise the form I have planned. I have a broad concept that I can be flexible with, knowing material amounts and colours can be variable. Caitlin Hepworth, who has participated in several past Symposiums, is in my back pocket with helpful advice so apart from my tools I pack a few extra things I may need- a little obsidian, some aluminum strips, apoxie sculpt, some hardware and acrylic paints.
On arrival at the airport in Adana, I am greeted with a welcome sign by our host, Lütfiye, whose joy and energy permeates through the whole experience from beginning to end. I meet the other 9 International artists and Maestro Menossi himself who all amaze with their skill, portfolios and multilingual abilities. Where language fails, Google Translate and sign language step in! As we work, we share our wonder at each other’s ideas and processes, learn tips and tricks and lament the mosaic artists’ necks and backs at the end of the long working days (9am to 6:30pm). Light relief is frequent in the form of guest musicians, singing and dancing and of course, tea, coffee and plentiful food, all announced by Lütfiye and her green bell. On the weekend we are shown the sights, locally and beyond (Zeugma Mosaic Museum in Gaziantep is one of many highlights). It is all beyond my wildest dreams to be looked after in such a way whilst being given this unique pocket of time, support and materials to create and publicly exhibit a large mosaic artwork.
As the deadline looms artists chip in with finding materials to get people over the line, helping with some cutting here, some painting there, some “what colour do you think?” advice and buckets full of encouragement. I was fortunate to learn about using charcoal as a material as I had a large area needing black and not enough dark value materials in the supplied mix of things to use. Maestro Menossi enjoys artists having to pivot and be creative which each one of us has to do in one way or another no matter how prepared. Of course, this is where some of the best ideas can spring from.
The opening night comes and we all see each other’s works beautifully displayed in the Adana Theatre Foyer and enjoy the feeling of having been through something unique and profoundly bonding.
Adana has now acquired about 60 mosaic artworks hosting these Symposiums and they are housed in various public buildings throughout the city. Plans are underway to display the works together permanently in a museum which will add to the already long list of fine reasons to visit Adana including but by no means limited to (and in no special order): Adana Kebabs, Hamam Museum, Baklava, Harem pants, Adana Archeological Museum, Varda Viaduct, Adana Grand Mosque, Adana Stone Bridge, Ayran (yoghurt drink) and the old town market.
I extend my deepest gratitude to Giulio Menossi, Neriman Güzel, Lütfiye Özer and the City of Adana for a truly unforgettable experience.
Barb Uhlenbruch
Participating artists:
Agnieszka (‘Aga”) Kwiatkowska, Poland
Alina Sakharova, Russia
Ayala Ibragimova, Kazakhstan
Beatriz (‘Bea’) Laborde, Argentina
Ceren Karabaki, Turkey
Giorgia Palombi, Italy
Hana Krichen, Tunisia
Neriman Güzel, Turkey
Philippe Ronzat, France
Barb Uhlenbruch, Australia
Art Director Giulio Menossi, Italy
'Hope Rising" Charcoal, Turkish smalti, Italian smalti, marble, ceramic, anodised aluminium, obsidian, apoxie sculpt, silver wire
Barb Uhlenbruch with 'Hope Rising" at exhibition opening night, Adana
Back row from left: Neriman Güzel, Bea Laborde, Giorgia Palombi, Guilio Menossi, Barb Uhlenbruch, Alina Sakharova, Philippe Ronzat, Hana Krichen
Front row from left: Ayala Ibragimova, Ceren Karabaki, Aga Kwiatkowska
Front row from left: Ayala Ibragimova, Ceren Karabaki, Aga Kwiatkowska
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