Mosaic Artist Makes Giant Luna Moth in a Unique Way
Written by Yvonne Anderson & Danielle Casali (all images provided & credited to Danielle) - 2022
"In Her Light/ Inner Light”
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Armature made using 3 X 40lb bags of Pal Tiya Premium with chicken wire, on foam and steel armature.
A while ago we were contacted by customer Danielle Casali from Illinois.
She was working on a public commission in response to a “Call for Artists” issued by Friends of The Library. The request was preferably a local artist, a nature theme with a whimsical touch.
The final piece was to be displayed on the Terrace Garden at St. Charles Public Library. For more on this & additional photographs, please see the link at the bottom of the page.
Whilst primarily known as a mosaic muralist, Danielle wanted to attempt her first public mosaic sculpture.
The Pal Tiya Crew was excited when Danielle got in touch saying she wanted to make it using our outdoor sculpting medium Pal Tiya Premium, which can be used as a substrate for any shape of mosaic work. She said, “I only felt I was able to propose this design because of Pal Tiya (Premium). I needed something that would withstand Chicagoland weather, keep it light weight, and serve as a perfect surface for mosaic. It was easy to learn to use, the Pal Tiya team was very helpful, and I love that it works like clay. This product has me so excited.”
She was working on a public commission in response to a “Call for Artists” issued by Friends of The Library. The request was preferably a local artist, a nature theme with a whimsical touch.
The final piece was to be displayed on the Terrace Garden at St. Charles Public Library. For more on this & additional photographs, please see the link at the bottom of the page.
Whilst primarily known as a mosaic muralist, Danielle wanted to attempt her first public mosaic sculpture.
The Pal Tiya Crew was excited when Danielle got in touch saying she wanted to make it using our outdoor sculpting medium Pal Tiya Premium, which can be used as a substrate for any shape of mosaic work. She said, “I only felt I was able to propose this design because of Pal Tiya (Premium). I needed something that would withstand Chicagoland weather, keep it light weight, and serve as a perfect surface for mosaic. It was easy to learn to use, the Pal Tiya team was very helpful, and I love that it works like clay. This product has me so excited.”
To read more about how Danielle decided on a Luna moth, see some excerpts of her wonderful and moving speech at the unveiling of her sculpture at the bottom of the page. We were moved to tears by her heartfelt words...
So, let’s delve into how the sculpture was built, some of the technical questions Danielle had and how our design crew answered them.
Danielle had already welded the steel frame for the piece.
Danielle had already welded the steel frame for the piece.
Danielle chose a Luna Moth and says, “To see a Luna Moth in the wild is incredibly rare. They are native to Illinois. They’re active at night, for a very brief season. They have no mouthparts as adult moths, so they die quickly. And their population is in decline as we threaten their environment. The caterpillar inches into the brush and makes its cocoon by wrapping fallen leaves and debris around itself, overwintering where it lays on the forest ground. The more we expand into natural areas and the less leaves we leave on the ground, the less habitat the Luna Moth has to molt, in its already vulnerable state.”
After requesting some images and sketches of her idea, we were able to answer effectively.
Do I need to use a mesh with the pal tiya on foam?
Yes, we would use mesh or chicken wire over the pink foam. The wings of your moth are large flat surfaces with almost no undulations or corrugations to offer dimensional strength. It's why a tube is stronger than a flat board of the same thickness. The wire should be embedded in the scratch coat. This way when you are refining the final surface, the pokey-ness of the mesh will be completely removed.
Because of its significant size, your project falls into the "Overhead, over height, Use Mesh" category. Ultimately this moth will be taller than a person, so it applies.
Because of its significant size, your project falls into the "Overhead, over height, Use Mesh" category. Ultimately this moth will be taller than a person, so it applies.
Do I need to paint the foam to protect from Pal Tiya?
Nope. Not at all. This kind of foam does not absorb water, and therefore won't dry out the Pal Tiya Premium while you are working on it.
Danielle used pink insulation foam boards glued together and carved to create the basic form.
Danielle used pink insulation foam boards glued together and carved to create the basic form.
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Do I need to make contact with the metal and PTP, even with foam core, and why
Oh yes! It is desirable to make as much contact to the armature as possible. Bind the mesh to the steel structure and embed these connections fully in PTP. Ultimately the foam will disintegrate, and the inside will become hollow. This would leave the armature uselessly rattling around inside the PTP shell offering no support at all. A good rule of thumb is to connect as many places as possible to support the shell if the foam didn't exist.
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Danielle wanted to know the best method of moving the sculpture. It was on a steel pole and she planned on putting extra Pal Tiya Premium below the wings, but worried they may crack.
We have some experience in the movement of public sculptures made using our medium, so we answered:
For good connection from the PTP shell to the internal armature, we would recommend more attachment points. Double and widen the number of holes. It would be wise to put some in the center of the body for a good grip to the biggest weight bearing strut.
Here are thoughts about the installation of your moth with the crane. This may involve altering your sculpture somewhat to accommodate the placement correctly. When crane operators lift a sculpture, the sculpture must be in its final (upright) orientation first. Then straps are secured so the sculpture stays and then lands in exactly the same orientation. They want as little alteration as possible when locating a multi ton piece. So, your sculpture will not be on a pallet. It may have its final base/plinth attached. It's a drop it and done procedure. For this, the operators determine "pick points", places on the sculpture that are safe to hold onto. Pick points can be straps slung under the piece, or locations built into the armature which can hold the load during the lift.
We have some experience in the movement of public sculptures made using our medium, so we answered:
For good connection from the PTP shell to the internal armature, we would recommend more attachment points. Double and widen the number of holes. It would be wise to put some in the center of the body for a good grip to the biggest weight bearing strut.
Here are thoughts about the installation of your moth with the crane. This may involve altering your sculpture somewhat to accommodate the placement correctly. When crane operators lift a sculpture, the sculpture must be in its final (upright) orientation first. Then straps are secured so the sculpture stays and then lands in exactly the same orientation. They want as little alteration as possible when locating a multi ton piece. So, your sculpture will not be on a pallet. It may have its final base/plinth attached. It's a drop it and done procedure. For this, the operators determine "pick points", places on the sculpture that are safe to hold onto. Pick points can be straps slung under the piece, or locations built into the armature which can hold the load during the lift.
Danielle made the necessary changes and gave us some exciting progress shots!
“To tie the Luna moth into its setting between youth and adult services here at the library, I selected book quotes about stars. Stars on the wings’ surfaces are connected in familiar constellations by these book quotes. Each piece of stained glass and mirror was hand cut and the edges sanded before it was adhered with mortar and finally grouted.”
In Danielle’s words at the unveiling…
There are some works of art that just come through you. They require you to quiet your thinking mind and they sit deeply at the base of every other possibility. They come intuitively with much more ease and clarity.
So, I woke up the next morning with a clear vision of a Luna Moth. I still had no particular reason for feeling pulled this way, but it felt right. A gorgeous image, a little trendy, perhaps a little indulgent, with a clear connection to the native prairie plants in this garden, and it fit the bill for a whimsical, natural image requested in the call for art."
There are some works of art that just come through you. They require you to quiet your thinking mind and they sit deeply at the base of every other possibility. They come intuitively with much more ease and clarity.
So, I woke up the next morning with a clear vision of a Luna Moth. I still had no particular reason for feeling pulled this way, but it felt right. A gorgeous image, a little trendy, perhaps a little indulgent, with a clear connection to the native prairie plants in this garden, and it fit the bill for a whimsical, natural image requested in the call for art."
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If you would like to know more about using Pal Tiya Premium for your next large mosaic project, or if you’re maybe hesitant about trying it Danielle says,
“People don’t want to waste their money or time, so that’s tricky. The good news about Pal Tiya is that it has a good working time. You can mix up a little handful and play around to get comfortable. And there’s that little trial bag so you don’t have to make a big commitment. For mosaicists working in 3D, a form is more interesting when you make your own. And taking a chance or being in an unfamiliar space is where the life is. I’ve found that getting people to that place is easier by their side, but the best thing I can say is just try it, and you may surprise yourself with your ability.”
“People don’t want to waste their money or time, so that’s tricky. The good news about Pal Tiya is that it has a good working time. You can mix up a little handful and play around to get comfortable. And there’s that little trial bag so you don’t have to make a big commitment. For mosaicists working in 3D, a form is more interesting when you make your own. And taking a chance or being in an unfamiliar space is where the life is. I’ve found that getting people to that place is easier by their side, but the best thing I can say is just try it, and you may surprise yourself with your ability.”
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