VIDEO: Making of Mokuluas Mosaic

It was such an honor to have the opportunity to make such a stunning backsplash for my client in Kailua, Hawaii! This video shows the creation of the Mokuluas mosaic from beginning to end, but before iPhones took good pictures. ;)

Video transcript for deaf or hard of hearing:

 I’m going to take you way back to 2008 to one of the first major commissions of my professional mosaic career. I had done a couple small commissions before and finally got my website together when I got a call from an interior designer in the Bay area.

She wasn’t calling for a client, but for herself. She and her husband were building their dream home in Kailua, HI, and wanted me to make two mosaics for their home. Today I’m going to show you the making of Mokuluas, the Hawaiian art wall backsplash.

This was a new build, so since it didn’t exist yet, I received a pdf file with

elevations from the architect. There were still some variables, so I believe this is the image I sketched up with the red dots to let them know which measurements I needed to proceed.

The client sent me these two images of the Mokuluas islands. They are just around the cove from the new home they were building, but since they didn’t have a view from their property, they wanted this mosaic to bring the islands into their home. 

The client and I knew we wanted it to be slightly stylized, yet realistic, so I started first by showing her how an idea I had for the clouds, a motif that would carry through to the ocean waves. 

Then I sketched the ocean waves.

Again, the kitchen wasn’t built yet, so I put the measurements into a CAD program to create a layout to make sure the client understood the perspective.

Then the client wanted some palm leaves to frame the mosaic. There was also some talk at this time about adding a turtle. I believe I made some sketches with a turtle, but really felt it took away from the elegance of the design.

Then the builders sent me updated measurements, making the proportions slightly squarer.

This was the final design thrown into the CAD layout. 

The next step was to show the client the palette of glass I would use for the mosaic. I ordered samples of every color from a few different glass lines and pared them down to this. I spent a lot of time finding the perfect combos, so I remember being thrilled that the client immediately approved the glass.

Next I laid out the shifts of water color on the design as well as the backer board I would be working on. It would be easy with a free flowing, wavy design to get crooked or get carried away with one color and not leave enough room for all the transitions.

Then it was time to begin the construction.

I started with the palm fronds,

Then the stylized clouds 

And the pebble islands filled in by gold streaked glass to make sure they still catch the light.

I took some pictures for the client without the painter’s tape.

I need to leave some pieces of glass unattached so the panels can be screwed into the wall with washers, so as I’m working the blue tape is to hold them in place.

Now onto the water. I worked from both the bottom and top to make sure the colors and intensity of the waves would come together properly. 

Also as a note, I used white silicone for this project. I want it to be waterproof because it will be in a kitchen in a humid climate. Plus much of the glass is translucent, so using a white adhesive makes the glass bright and shiny.

I cut the mosaic into dozens of pieces and shipped the mosaic to Hawaii. The builder sent me these pics before lighting was installed in the home.

 The next year I went to Hawaii to grout the mosaic. I was busy working the whole time, but here are a couple pictures of the home and property I managed to take. 

And finally the mosaic was finished. This was right before inexpensive cameras and phone cameras started getting really good, so the pictures don’t quite show the movement of the mosaic.

 When you are in the room, because of all the shine and iridescence, the water appears to move and the homeowner reported that the colors change throughout the day.

Thank you for taking this trip back in time with me!

Mokuluas Islands Mosaic Backsplash

Dating back to 2008, this was the first large mosaic piece I created. I received a call from an interior designer about a piece that she wanted for herself. She and her husband were building their dream home in Kailua, Hawaii, and they wanted for me to create a backsplash to be put in their kitchen.

This is the mosaic that started it all for me as a commission artist. Dating back to 2008, the Mokuluas Islands mosaic was my first large commission, and taking it on felt equal parts thrilling and terrifying. Up to that point I had only completed two small local commissions in Los Angeles. This was a 69” by 89” backsplash for a dream home being built in Kailua, Hawaii, for a client who happened to be an interior designer herself. The stakes felt very real.

The client and her husband were building their home near the Mokuluas Islands but wouldn't be able to see the islands from the house. She wanted a mosaic that would bring that view inside, something realistic but also stylized, that would capture the landscape she loved and live with her every day in her kitchen. She sent me measurements and photographs of the islands to work from, and I began sketching.

Final sketch of Mokuluas Mosaic Backsplash.

I started by establishing the cloud shapes, developing a flowing motif that would carry through the entire composition. From there I sketched the ocean waves using the same organic approach. After the client reviewed the sketch she asked if palm leaves could be incorporated, and I was able to work them into the sides of the composition without disrupting the elegance of the overall design. We also adjusted the dimensions slightly at that stage to make the piece more square, which worked better for the layout she had in mind.

Sketch of Mokuluas Mosaic Backsplash in CAD rendering.

Once the design felt right I transferred the measurements into a CAD program. Because the kitchen wasn't built yet when I started the design, the CAD rendering was essential for showing the client exactly how the mosaic would read in the space and from what perspective.

Guide version of sketch for Mokuluas Mosaic Backsplash.

Next I created a detailed guide version of the sketch with measurement lines marked at every few inches across the full height of the composition. Working at this scale, that kind of reference is invaluable for keeping everything on track as you build.

Glass selection for Mokuluas Mosaic Backsplash.

The client was clear that she wanted the piece to be as detailed as my fine art mosaics. She had admired my 3D spiral work, but that kind of dimensional surface isn't practical for a backsplash. Instead we found a wonderful compromise: using a mix of different thicknesses of glass, glass gems, and pebble stones to create visual and tactile depth without the impracticality of true relief.

I spent a lot of time selecting and sampling glass colors, laying out combinations and living with them before committing. The palette needed to move through the deep blues of the ocean, the shifting greens and aquas of the shallows, and the warm sandy tones of the beach. I was genuinely thrilled when the client approved my first round of color choices.

Palm Fronds, work in progress.

Palm Fronds, completed.

Islands, work in progress.

Islands, completed.

Mokuluas waves, work in progress.

Mokuluas waves, completed.

Once everything was set I mapped the color shifts onto the backer board as a guide, so the transitions between sections stayed controlled and no single color overwhelmed another. I built the piece starting with the palm leaves, then worked through the clouds and the islands. For the water I worked from both the top and bottom simultaneously so the wave colors and intensity would build toward each other and meet in the middle without any awkward jumps.

Fuzzy pic of me grouting. iPhone cameras weren’t as good back then!

Like the Sun Kitchen Mosaic Backsplash, this piece was built on Wedi board panels and cut into sections for shipping to Hawaii, where the builder's team installed it. I used white silicone as the adhesive since this is a kitchen installation and waterproofing was essential. White adhesive also brightens translucent glass from underneath, which made a real difference in how luminous the finished piece would look.

A year after installation I traveled to Hawaii to grout the mosaic.

Getting to see the finished piece in person, and to see the actual Mokuluas Islands that had inspired it, was a genuinely moving experience. The way the water and clouds seem to shift and move as the light changes on the mosaic throughout the day, and as you move around the room, is something the photographs simply can't capture. The client noted that herself. It's one of those pieces that lives differently in person than it does in any image, and knowing it's in someone's home bringing that landscape to life every day means a great deal to me.

See the full gallery page for this commission.

Ombre Mosaic Fireplace

I loved making this mosaic so much! The subtle color changes and wide variety of tessera made this fireplace a work of art.

It was such a pleasure to make this mosaic fireplace for this delightful client in Akron, Ohio. She had a wonderful eye for color, design, and theme, and had planned color palettes evoking the seasons in different areas of her home. It's wonderful to work with someone who knows what she wants but is open to discussion.

When I visited her home to see her aesthetic, I immediately saw that the fireplace had the potential to be something ethereal. She came with images and a concept, and I sketched up a few ideas. I presented her with a couple of approaches to the ombré, including a simpler diagonal following the line of the ceiling, and she chose the diagonal criss-cross pattern you see here. I think it was absolutely the right call.

Diagonal Fireplace Mockup

Criss-Cross Diagonal Fireplace Mockup

The ombré transitions through four color sections: deep brown at the base, warm peach in the middle, taupe, and finally a creamy iridescent glass at the top. I felt strongly that the bottom needed the weight of dark brown to ground the piece and make the upper half feel more ethereal by contrast. The peach tones in the middle evoke the warmth of fire without the harshness that orange or red would have brought to the room. And the iridescent cream at the top creates exactly the luminous, almost otherworldly quality I had envisioned from the start.

One of the palettes of materials I showed the client.

The color palette required some careful negotiation between her original vision and what was technically achievable. Certain materials, like the thicker glass gems and tiles, simply don't come in every color, and excluding them from any section would have made the piece feel inconsistent. Working within the budget also shaped some of the glass choices. She was wonderfully collaborative throughout, willing to discuss adjustments when I felt strongly that a change would serve the piece better.

She came to my studio to choose from a huge variety of glass options and quickly identified what she did and didn't want to use. It was a tough decision to commit to the darker, heavier materials at the bottom, but I really felt it would ground the mosaic and make the design pop. I'm so glad she trusted that instinct.

Installing the fireplace mosaic.

Several different materials are woven throughout the composition including stained glass, vitreous glass, glass gems, and pebbles. The pebbles are concentrated in the darker lower sections where their weight and texture feel most natural. One of the more technically demanding aspects of this piece was keeping the ombré transitions smooth and gradual while also keeping the criss-cross pattern legible. With so many materials of different widths and thicknesses, maintaining consistent spacing across the entire surface required constant attention.

Iridescent stained glass presents a particular challenge: it can look completely different before it's cut and placed against neighboring glass, so color decisions had to be made carefully and sometimes revisited. Some of the more translucent glass required adhering directly with mortar rather than mesh so the backing wouldn't show through. For grouting I used four different grout colors, blending them at the transitions. That sounds complicated, but it came together more smoothly than I anticipated, even with so many different textures and thicknesses to work around.

This is my favorite mosaic I have ever made. The way so many complicated decisions, materials, and techniques came together into something unified, flowing, and elegant is exactly what I hope for in a commission, and rarely get to this degree.

See the full gallery page for this commission.

Sun Kitchen Mosaic Backsplash

It was so much fun to have the honor of making this brilliant, Gaudi-inspired showpiece for a client’s home! 

My clients were building their dream pool house, which was sleek, modern, and minimal. It is a gorgeous home with clean lines and almost entirely white walls. They planned on doing a lot of entertaining, so they wanted a bright, bold mosaic backsplash in their open kitchen to serve as the centerpiece of the dining and living area. I was so fortunate that the wife of the president of an arts organization I work with are neighbors and friends with the couple building the home. She told them about my mosaic work and we met to discuss the project.

The couple wanted something inspired by Gaudí because they loved his mosaics and wanted a special artwork to remind them of their travels to Barcelona. They also wanted cobalt contrasting with vibrant, warm colors. It's so rare that clients are bold enough to put this much color in their home, so it was such a joy to work with them to make this mosaic happen.

Mockup of design option 1, colored pencil sketch.

I began with a hand-drawn sketch exploring the concept. This early option used a looser, more organic approach with stars and sweeping movement across the full width of the backsplash. You can also see the shelf cutouts already accounted for in the design, since planning around the architecture was part of the process from the very beginning.

Mockup of design option 2, digital.

From there I moved into digital mockups to work out the color relationships and composition more precisely. This version refined the design toward the sun concept and brought the cobalt and warm color contrast into sharper focus.

Mockup of design option 3 (chosen design), digital.

This is the final design the clients approved. I wanted to create something that matched their Gaudí and color specifications while still reflecting my own style. I suggested a sun because Gaudí has worked with solar imagery, but I approached it my way using geometric shapes, varying levels of translucency in the glass, colored mirror, and gold smalti. I also suggested creating the mosaic in glass rather than ceramic. I was so glad they agreed, because I couldn't have created a work this intricate in ceramic, and it would have lacked the luminosity and impact that glass brings. I still used a picassiette-style andamento traditional to ceramic mosaics as a nod to Gaudí. The whole design came together beautifully and quickly because the clients were open to ideas but also knew exactly what they wanted when they saw it.

Chosen mockup of Sun Kitchen Mosaic placed into wall elevation.

Before construction began I worked from the architect's wall elevation drawing to plan the panel layout precisely around the stainless shelves, range hood, and exact dimensions of the space. The sun was centered over the stove intentionally, both as a compositional anchor and so the focal point would sit entirely clear of the shelves. I also planned a buffer area at the top of each panel to account for any slight variation between my measurements and the actual wall, since it's far easier to trim a clean edge on site than to cut down a completed mosaic panel.

Sun Kitchen Backsplash, work in progress.

The mosaic was built on Wedi board panels, a foam core backer board coated on both sides with fiberglass mesh and cementitious resin, cut to fit the space. Working on the floor of my studio, I built each panel section by section, adhering all the glass with white mortar. I chose white mortar specifically because this is a kitchen installation and I wanted it to be as waterproof as an outdoor piece. White mortar also dramatically affects the color and reflectiveness of stained glass, even opaque glass has some level of translucency, so the mortar color underneath matters. For the translucent gems I backed them with foil so they would catch and reflect light beautifully.

Completed & grouted panel of Sun Kitchen Mosaic with removable section for washer circled in yellow.

For each panel seam I pre-cut the glass pieces that would bridge the gap after installation, but instead of adhering them I applied clear packing tape to the front and removed them. That way I could set them aside, install the panels, and then reapply them over the seams and washers during installation. The yellow circle in this image shows where one of the Wedi board washers sits beneath the glass surface. Those washers are designed specifically for foam core backer board installation and are completely hidden once the glass is applied over them. The main panel areas were grouted before installation so that only the seams and washer covers needed grouting on site.

Sun Kitchen Mosaic Backsplash during installation.

Installation day was incredibly satisfying. We first dry-fitted all the panels to confirm everything aligned correctly, and fortunately it all fit perfectly. The installers then secured the panels using mortar and screws through the washers. After that we applied the pre-cut glass pieces over the seams, washers, and buffer areas, with extra supplies and tools on hand in case any gaps needed filling. The last thing I wanted was extra grout lines giving away where the seams were hiding. Finally we grouted those areas and the backsplash was complete.

I didn't even anticipate the gorgeous reflection of the sun in the stovetop. That was a happy coincidence. In a home of clean white walls and modern design, seeing it finished and installed was dazzling. The clients are frequent hosts and their guests have told me how much they love it. They still tell me how thrilled they are with it every time I see them, which is the best possible outcome for a piece like this.

See the full gallery page for this commission.

Casa de Los Robles Mosaic

I loved making this plaque for a client’s home using stained glass and 24 karat gold smalti.

It was such an honor to get to make this beautiful plaque for my client’s home. She wanted something elegant to honor her home, Casa de Los Robles (House of the Oak), that was built in 1927.

A major feature of this mosaic is the gold smalti, which is 24 karat gold leaf between layers of glass. This beautiful and coveted glass comes from the Orsoni glass company in Venice, Italy. I had the idea of working with gold smalti and the client loved it, but then we were left with the dilemma that she definitely wanted the “de” to be placed in the tree trunk. I could have used dark gold smalti for the background and yellow gold to stand out in the tree, but I personally feel that using different colors in font is less elegant. The USA supplier of the gold at the time didn’t have this darkest of colors that had a certain refraction that allowed it to stand out against both dark brown and cream glass. Fortunately, when I relayed the significance of this particular color, the supplier managed to either find some stashed away or get some from Italy before her regular shipment, which would have been several months if the factory even had any in stock. To me, this color totally makes the mosaic work, so I was elated.

Then I had to sculpt this thick glass using andamento that keeps the script lettering light and consistent. Instead of recessing this glass that is slightly thicker than stained glass, I kept its depth so that it rose above a bit to stand out and reflect the light cleanly. I also used this bronze gold smalti in addition to a more traditional yellow gold smalti for the acorns and the border. The rest of the mosaic is stained glass.

I created the Casa de Los Robles mosaic in one piece on Wedi board. I grouted it and shipped it to California to be installed, recessed, into the wall of the client’s butler’s pantry. The client was kind enough to send along this picture after the installation.

TBT! Turtle Mosaic Medallion

I created this mosaic turtle out of Orsoni Italian smalti for the entrance to a business in Florida.

Bodhi Tree Mosaic

The client for this mosaic came to me after she had purchased pottery from an artist in Africa. Unfortunately, the pottery broke during shipping, so she wanted me to make a mosaic artwork with the shards as a memory of her trip.

My client told me about her amazing trip to Africa (it’s been several years so I forget which country) and how she buys local artwork every time she travels. She was very excited to have this gorgeous pottery set as a memory of her time. The artist offered to ship it to her, and sadly it arrived with almost every piece broken. Her friends suggested she make a mosaic out of the shards. She decided that she wanted something more “fine art” than what she could do herself, so she asked me to help.

The pottery was beautiful, as was her story, so of course I wanted to help. I asked if she wanted to incorporate other glass or tile too, but she wanted to use exclusively the ceramic pottery. I came up with the idea of the design, which she liked. Then I found these Walker Zanger pop art porcelain tiles and realized how amazing and special they would look in this mosaic. I told the client I absolutely understood why she wanted to use only material from her trip, but offered her these as an option in case she wanted to reconsider. She loved the way they looked and how they organically fit with the pottery, so we went for it!

When I created the mosaic, I used the rims of the cups, bowls, and plates for the leaves and branches. I layered the ceramic for a three dimensional effect. For the background, I used the centers of the pottery. I decided on a simple brickish type pattern to give a sense of zen and to make a distinct change in andamento between the background and foreground. I loved how in the background, the different thicknesses between the dinnerware provided depth and texture.

I developed achy hands and a lot of blisters trying to cut this very hard, thick ceramic. It also had a tendency to crumble, which was incredibly frustrating. I stilled loved the opportunity to make this very special artwork, and the client loved it. So overall, absolutely worth it!

TBT! DecoBall Mosaic Lamp

Here’s a gorgeous lamp designed by the immensely talented interior designer Kishani Perera that I had so much fun mosaicking!

TBT! Underneath Mosaic

This is the largest of the mosaics from my earth series in which I explore the growth of life.

TBT! Ruby Aspirations Mosaic

My mom asked me to make her one of my 3D spiral mosaics, and fortunately she has the same favorite color I do. I finally got to make a ruby red 3D mosaic!

Fireplace Rugs Mosaic

I was so lucky that Jordan Design Crew approached me to make these decorative mosaics for their clients’ outdoor living room.

If my memory serves me correctly, one of the founders of Jordan Design Crew, Courtney, created this design. In addition to being a fabulous interior designer, she’s also an amazing artist. The design fit beautifully into her design for this outdoor living area.

TBT! Waves Mid-Century Modern Home Mosaic

I made this huge mosaic for a mid-century modern home in the Brentwood neighborhood of Los Angeles, CA.

TBT! Blue Burst Mosaic Handles

I mosaicked these spectacular furniture handles in collaboration with Strauss Studios a few years ago. It’s always so fun to collaborate with John & Carisa!

Cherry Blossoms Mosaic

Here’s a delicate little mosaic I made when I was inspired by the elegance of cherry blossoms.

I made this mosaic as a feature piece for a line of tile I wanted to make. I made these tile samples with the intention of making them to be placed on backsplashes embedded within other tile.

I made samples with different colors of grout and tile beds to show how they would look, but the idea didn’t catch on.

I even tried making some mosaics with a poppy theme.

Some students that came to my studio saw them sitting around and suggested to just sell them as regular hanging artwork. I did that, but they still didn’t sell. Oh well, it either wasn’t a good idea or not good in execution, but people do like my cherry blossoms mosaic and so do I, so it was worth the experiment.

Secret Spa Mosaic

I made this mosaic mostly out of Sicis Neoglass for a spa at the same home as the Mokuluas art wall. 

I created this mosaic before the actual spa was built, so I had to put the builder’s measurements into a CAD program to make sure the glass would fit once it was built.

The client is an interior designer and fell in love with Sicis Neoglass. She wanted me to use this glass for the spa. Neoglass is about 1/4” thick and comes in 3 shapes: Cube, Barrel, and Dome.

The client wanted a design to reflect the local surroundings, so I created a ginger flower embellishment pattern to work into the waves of the mosaic.

Originally the mosaic was going to cover the whole spa, but because of concerns about the surface being slippery, she requested I just mosaic the sides and an interior wave. They would top the spa with stone. These were the options for the original design.

With the design locked down, I started creating the mosaic in reverse on heavy kraft paper so that it could be easily shipped and installed by her builders in Hawaii.

And then the mosaic was finally installed and grouted in its home in Kailua, Hawaii.

TBT! Hamsa Mosaic

I made this dazzling mosaic hamsa for the exterior of a home in Florida using Sicis glass tile and huge foil-backed gems.

Quartz Mosaic Table

This wooden table was built by my client’s father, so he wanted to modernize it for their home. I created a fanciful look of a quartz geode with glass tile with gold streaks.

TBT! Mid-Century Modern Mosaic Accent for Outdoor Pool Shower

A few years ago I made this fun splash of mosaic color for the outdoor pool shower at a mid-century modern home in Los Angeles.

TBT! Mirror Feather Mosaic Cabinet Collab

Here’s a gorgeous collaboration I had the opportunity to work on with John Strauss Furniture a few years ago. John created this beautiful cabinet to house this beautiful inset mosaic mirror feather that is inset within the doors. It was so fun to collaborate with John & Carisa on this and so many other furniture/mosaic works!