The restoration work I have done for The Gilbert Collection has been one of the most exciting things that has taken place in my studio. Through the work, I have the privilege of forming a special bond with the artist, the mosaicist. Understanding the artist's choice of color and expression in micromosaic is an essential part of being able to repair the damage done to their masterpiece. However, the most important aspect of the work is to leave no trace of my relationship with it. The color, shape, size and placement of the smalti must be as though done by the master himself.                                                                                                                    


Restoration for the Gilbert Collection, July 1999.

Gilbert Mosaic before restoration, 1999

In glass, color is chemistry, and the most time consuming aspect of the work is the color matching.

Gilbert Mosaic color matching, 1999

Smalti that have been chipped or broken and fall short of the surface of the micromosaic must first be removed.

Gilbert Mosaic during restoration, 1999

When the new smalti are set firmly in place the next layer of grout can be replaced and the surface level of the smalti is made to match.

Gilbert Mosaic restored smalti filati, 1999

Then a different kind of color matching takes place, that of matching the surface layer of the grout. It is equally as important as matching the glass colors. Within one square inch of a micromosaic, there may be many different shades of grout.

Gilbert Mosaic matching grout color, 1999

When the layer of colored grout has been replaced the surface is polished and restored to its original luster.

Gilbert Mosaic restored, 1999

patent no.  6,103,329
1998 - 2000 Laura Hiserote, all rights reserved
last updated December 1, 2003