Bushfire mosaic
Ceramic items survive fire. However, if the table they sat on or cupboard they were stored in burns, they fall and break. They also break if things fall on top of them. If you sift through the rubble of a burnt house, you can find mugs, plates and bowls some whole, most in pieces. The banal - cheap plates bought at Queanbeyan Target and brought to the shack our first Easter here. The beautiful - a Pacifica patterned bowl I bought at my favourite Mt Eden shop when I lived in New Zealand. The sentimental - my first Motherās Day mug. The ridiculous - the intertwined people salt and pepper shakers my sister in law gave us. I scavenged our bushfire rubble for these fragments of ceramic memories. Some were discoloured or broken but a few ramekins even survived, and are now in my new kitchen drawers. I kept these pieces of banal, beauty, sentiment, ridiculous and significance, and chucked them in a crate for the rain to wash and for the fire smell to dissipate.
I have previously written of my plan to make a mosaic with these pieces. Iām not the only person to make art from their bushfire ruins. It feels brutal to have lost so much of your past life that you want to hold onto the fragments of porcelain or molten metal and phoenix-like, raise them up again. So Iām not the only person, but I am quite possibly the slowest person to create their bushfire art! To be fair it was an intense and busy time recovering, renovating, moving and building. But thereās been time enough. My initial efforts were frustrating and fruitless. I was inspired by a feature cylindrical mosaic I had seen in a garden setting. Easy I thought, just get some PVC plumbers pipe. I discovered It wasnāt possible to stick predominantly flat ceramic pieces onto curved PVC pipe with craft glue nor with tile glue. The pieces just slid off and in frustration I packed everything up and focussed on things I actually needed to do. After those many many things were done, I developed a new and delightful skill of sitting on our new verandah and doing not much. The mosaic nagged however, and inevitably it was time to unpack the pieces and recommence, this time armed with the most serious builders liquid nails extreme instant hold adhesive available. I had to wear gloves because it doesnāt wash off skin, you just have to wait for it to finally peel off.
Re-starting this project felt wonderful. I think that was due to both the recommencement and the therapeutic nature of craft. There are organisations who now teach crafts as therapy. Those nans and great grandmums knew so much. Not only did they clothe and warm their families or decorate their houses, they kept themselves sane through all the chores and sexism they had to endure! My Gran loved to paint she and was also a prodigious knitter. I remember knitted jumpers all colours and sizes, which never quite fitted the intended grandchild but always worn by another. Her crotcheted rugs are legendary in my family. Sadly I lost one of her paintings and one of those rugs to the fire, but local knitted and sewed generosity has created new family treasures. Like most women of her era, my Gran could also sew and made my motherās ball dresses even her wedding dress. She passed on her skills to my mother who made many necessary and requested outfits in my childhood. Me, not so crafty. Last year when curtains needed hemming I borrowed a sewing machine, threaded it and surprisingly some sewing knowledge came back to me. But thatās about it. Mainly my adulthood has been bereft of craft.
What I found during mosaic making was something different from sewing - there was no need for it to be perfectly straight or the right length. I could put the pieces wherever I wanted and wherever I wanted to put them was exactly the right place. At times there was tension until I accepted that and gave in to the mosaic making process. I felt satisfaction when I found a snug fit for pieces. I started to confidently choose pieces for contrasting or complementary colour. I considered texture and unique features - a Japanese cupās authenticity stamp, the signature of the potter, the handle of a cup, the words on a joke mug. I felt gentle happiness as I recalled the origin of each piece - when it was purchased or who had gifted it. Maybe the passage of time was necessary for me to find joy in the mosaic making process. Slowly, slowly the pieces crept up the cylinder and finally I reached the top! To bring it all together I wanted a dark grout and found the perfect colour - ironically named charred ash (I have included an image to prove this). I had not imagined grouting to be so satisfying but it truly was! Covering sharp edges and filling gaps, the grout smoothed away some of the amateurishness of my humble mosaic. It was starting to look good!
After months of working on the mosaic, now it was finished I had to decide where it should live. We wanted to put it where our old place had been, but it took a little while to find the right spot. I wanted it to be visible, but not in the way, and it had to feel right. We decided on the location that had been the corner of our old home. My husband did the grunt work digging it into the ground and fixing it with reo and concrete. Proving you really canāt over-engineer a mosaic cylinder. Then I put a lid on it. A near complete English style cottage that had belonged to my mother in law and had been rescued from a box in our burnt shipping container. A very symbolic crowning of my mosaic! I used a few connecting pieces of a white Maxwell Williams mug gifted by my big sister many years ago to fill the broken side of the house. To complete my bushfire mosaic I planted a spiky, colourful and resilient succulent.














