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Mosaics Memories
Renovation of Duncan Hooson’s Mosaic P
Commissioned by Southwark Borough Architects, Duncan Hooson created four spherical sculptures (the largest 2m diameter) in steel, concrete and ceramic mosaic, located outside the award-winning Alsop/Stormer Peckham Library in London.
However, this series of mosaic works showed varying degrees of damage, with some areas even experiencing large sections of tiles falling off.
In addition to natural factors, I suspected that human impact played a significant role. Each time I stayed in Peckham Square, I observed the blue, green, and red mosaic spheres in lower positions frequently "surrounded" by people. Some individuals used the blue mosaic spheres as seating, while children climbed on them, treating them as a play stage. The green and red mosaic spheres, being closer to the ground, served as makeshift goals, with numerous bicycles and pedestrians passing by them… In contrast to these accessible mosaic spheres, the largest ones, which were out of reach for climbing or play, remained relatively well-preserved, with only two or three mosaic tiles missing near the base.
Each time I saw these visibly damaged sections, I felt a mixture of satisfaction and regret for the mosaics. I was pleased because I knew this artwork had been thoroughly "used," enhancing its significance; yet, I felt it should not be left to continue deteriorating. Therefore, I reached out to the artist, Duncan Hooson, to inquire if I might undertake repairs, and I was fortunate to receive his support for this restoration effort.
The Broken Parts
Three of the four mosaics have extensive damage
Although I selected fragments with colours closely resembling the original mosaics and followed the elemental themes of earth, wind, water, and fire, the "repaired" mosaics still had noticeable differences from the originals, which was intentional. One of my aims for this non-permanent artwork is to inspire people to appreciate and protect the cultural heritage around them and to understand that once something is lost, it cannot be fully restored.
Based on field research, I think the production steps of these mosaics are to use steel bars to build the shape of the ball, then use cement to make the bottom and use cement again to connect the mosaic fragments. Finally, use caulking agent to fill the gaps between the fragments. Moreover, these mosaic fragments cannot be easily reproduced. They are all made by Duncan, and it is difficult to find a replacement easily. You can consider learning how to make them from the artist.
PROTECT IT, SHOW IT OR LOSE IT
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