Cleo Mussi, mosaic artist

Naomi Jones talks to Cleo Mussi, an artist who relishes reinventing old ceramics and creating new works of art.

ABOVE (left-right): Cleo in her studio, full of colourful china; old and new pottery come together.

Why did you choose mosaic making?
Having studied textiles in the 1980s at Goldsmiths in south east London, I felt the urge to change my discipline. I trained in pottery for years, but am self-taught in mosaics: after working with recycled cloth at college, the transition to broken ceramics seemed natural. Plus, the raw materials are accessible, affordable and have interesting qualities.

Where do you source the damaged crockery?
Along with scouring charity and junk shops, I have a number of suppliers, including the Bridgewater factory in Stoke-on-Trent and my local market in Stroud. People often leave boxes of old china on my doorstep, too.

Do you ever destroy objects in perfect condition?
I have a collection of 1950s and 1960s tableware purely for ideas, but if the right concept came along, I might use pieces.

ABOVE (left-right): A heart for a Valentines exhibition; this basket combines mosaic and quirky objects.

What inspires your designs?
Projects can evolve over a few years, and sometimes I won’t really understand the meaning behind a body of work until it’s finished and there’s time to think about it. What’s more fascinating, though, is that within each mosaic, you can take a glimpse into the history of ceramics: from Poole Pottery to Chinese porcelain; Royal Albert classics to 1970s tableware. The bulk of the patterns I use aren’t desirable anymore so it gives me a real sense of satisfaction to reinvent them.

Which mosaic are you most proud of?
I’m still rather amazed at the size of the public commission at John Lewis in Solihull, which measures 7m x 25m. And a recent installation of mosaics – called 50/50 and based on a trip to Japan – has 90 elements and spans 20m x 8m.

Do you take private commissions?
Yes, I’ve been asked to do some very personal projects to celebrate special occasions in people’s lives; they’ll often want me to include china that they’ve inherited or broken treasures they would like me to give a new lease of life.

ABOVE (left-right): Kyushu Tea Vases from the 50/50 show based on a Japanese research trip; three from Cleo’s Mutants series.

Is your craft a full-time occupation?
Fortunately, it is; but mosaic making doesn’t just earn me a living, it keeps me focused: I become completely submerged in my work and developing new ideas – I find that time just evaporates.

Do you have your own studio?
I’ve rented a number of studios over the years, but this one was built especially for me in my back garden to save wasting time travelling. It’s a bit small, so it tends to be in a state of chaotic, ordered mess. But compared with some I’ve worked in, this is sheer luxury: there are no trains hurtling overhead plus there is a view of the garden.

You can buy Cleo’s work from Contemporary Applied Arts in London (caa.org.uk) or call her on 01453 762539 (mussimosaics.co.uk).

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WORDS NAOMI JONES PHOTOGRAPHS ALEXANDER CAMINADA, JACQUI HURST
Featured in the July 2011 issue of Period Living