Gary Drostle, mosaic artist

Naomi Jones chats with Gary Drostle, a London-based mosaic artist who feels equally at home on a building site.

Who inspired your love of creative pursuits?
My mother started out as a window dresser, then became a pottery and embroidery teacher; she must have had a big influence on me because by the time I began secondary school, art – and in particular drawing – was my thing.

Did you go on to study art after school?
Yes, at Camberwell, St Martins and Hornsey colleges, but when I left I decided to reject the gallery system and to create work on the street; I started painting murals for public sites in 1986.

How did you make the move towards mosaics?
In 1990, a mural commission transformed into a mosaic as the client wanted it to have a longer lifespan. Now I make works for floors and walls, exteriors and interiors, using materials including glass, ceramic and stone. I find this craft requires a wonderful combination of skills: researching and designing, making in the studio, and the very manual labour of installing the piece, often working on a building site, mixing cement and climbing scaffolding. It’s very satisfying.

Have you taken your studies any further?
I was lucky enough to win an award from the Queen Elizabeth Scholarship Trust (qest.org.uk), which paid for me to attend a Master in Mosaic course at the prestigious Orsoni factory in Venice (orsoni.com); this has helped me to aim even higher with my work.

Which project has proved the biggest challenge so far?
The creation of a 7.5m sculpture for Erith in Kent; the design of three entwined fish was inspired in part by the ancient coat of arms of the town.

I began by carving the sculpture from solid blocks of construction grade polystyrene and then coated this with glass-reinforced cement. Finally the sculpture was covered in 20mm cut glass mosaic, each piece hand cut and fixed.

What is your research process?
All my works are designed and created for the individual site, so I might look at the surrounding architecture or landscape, perhaps delve into the history of the area or talk to local people. I may even run workshops with a school or community centre. From this research an idea emerges, growing over a number of drawing phases until I have a design that represents both the site and me.

How would you describe the atmosphere in your workshop?
It tends to fluctuate between something very monastic and something a bit livelier: from the rhythmic clipping of tiles accompanied by the quiet echo of some early music, Hildegard of Bingen in particular, to Radio London and the odd chuckle as the work carries on methodically.

Can you offer any advice for others who want to become more creative?
Don’t think about it too much, just dive in and start. Also, follow your heart – let it guide you.

To see more of Gary’s work, visit his website drostle.com or contact him on 0771 952 9520.

WORDS NAOMI JONES
Featured in the May 2010 issue of Period Living