Through a glass, lightly

A chat with interior designer Mansi who is into mosaic glass art, a form of expression very few artists in the country are experimenting with.

Glass mosaic art is 43-year-old Mansi Madan’s pandemic baby. The Pune-based alumnus of Nanavati College of Architecture took to designing interiors of residential and commercial spaces with gusto for five years, netting in acclaim for her fine detailing and finesse in shaping contemporary spaces. No wonder creating spectacular glass mosaics, on an equally astounding scale, came naturally to her during the lockdowns when she began researching, reading and working on the skills required to cut glass.

“I found myself loving every minute I spent creating mosaics. For me, it was exciting to try my hand at a medium I had never explored before,” she says, putting the finishing touches to the dancing rendition of the Nataraj. It is poetry in motion with the matted locks strewn in all directions in serpentine precision, with the beads and flowers flowing in fluid abandon. From the curl of the knuckles to the stretch of the calves and the instep, Mansi pours in her own imagination to envisage the free-spirited movement of the blue-throated god on the peak of Mount Kailash. The artwork, titled Shiva, unfurls in a frame of 42x57 inches and weighs 15 kg.

Her love for mythology runs deep along with her penchant for forms in nature, and human expressions. “The versatility of glass intrigues me. It offers endless possibilities as the material can multi-task and converse with both indoor and outdoor environments. Mosaic glass brings with it the potential to create sculptures. Making art with glass pieces is like putting a puzzle together as each piece has its unique place,” she shares. Each of her artworks breathes sheer harmony in form and cohesion, lending a deep latitude to the expression. A rare aspect, considering the paucity of mosaic glass artists in India.

The process is decidedly complex, with very few artists in the country experimenting with this medium of expression. Her biggest challenge has been to source the textures she requires from the available raw materials as the resources are limited in India, compared to Europe and the US where glass mosaic is in high demand. Mansi mostly procures her raw materials from Italy and Spain but says she has recently identified a supplier in Gujarat who manufactures glass, especially for artwork. “I like to work in the stillness of the night. I can hear my inner thoughts clearly,” she admits. The creative expression takes seed as Mansi decides on her subject, and begins visualising how the glass pieces can be arranged to bring what she conceives to life. The element of dynamism pours in through her choice of glossy, or matte tiles, with a kaleidoscopic pick in complexions including natural stone chips, and marble. “It is a porous process, a sort of creative osmosis for me as I dip into my imagination, completely untethered,” she shares. The tonal gradations of blue are a favourite with her, as is black. Her background in design holds her in good stead. “No one in my family was inclined towards design, but I always had a fascination for form and structure.”

What’s next? “I have always been fascinated by Alexander Cabanels ‘Fallen Angel’ and the more it ferments in my mind, the more I want to interpret it in my own way in glass mosaic. Playing with the multitude of shades that black possesses is another challenge that I want to take up. Then the magic of Pichwai art forms is a constant source of inspiration for me,” she says.