functional art – Charlie Rees

Upcoming Auction

I am placing six of my stained glass mosaics for sale. The auction will take place on Ebay, August 6 to August 10.

The mosaics are from my series, Each Piece Has a History. These mosaics are set and framed in vintage pieces such as silver plated trays, ceramic plates and old mirrors. They show signs of their past use, making them unique, one of a kind. Somebody, somewhere, sometime handled these objects. They have a history.

The reserve bid for Each Piece includes a stand and shipping. For shipping outside of the continental United States, there is a fee of $30. If you have questions, please email me at charlie@charliereesart.com.

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The Polish Horses

Each mosaic is composed of stained glass, set and framed in a ceramic dinner plate, made in Poland for Crate and Barrel. The white rim with the cobalt blue trim, frames and enhances the mosaic. The mosaic is 12” in diameter. The reserve bid for each mosaic is set at $100.

Norfolk’s Horse

The mosaic, Norfolk’s Horse, is composed of stained glass and set and framed in a silver plated tray made by the Rogers Company. The mark, Norfolk, is stamped on the back of the tray. The wide rim with patina frames the mosaic and adds a sculptural effect to the piece. The mosaic is 16 inches in length and 11.75 inches in width. The Reserve bid is set at $150.

The Ballerinas

Two ballerinas

The mosaic, Two Ballerinas, is set in a two sided vanity mirror. It is two mosaics in one. The mirror is on a swivel and rotates. The mosaic is composed of stained glass. The stand with the floral design turns the mosaic into a small sculpture. The mosaic, measuring from the base of the stand, is 12.5 inches in height. The reserve bid is set at $150.

The Iron Stone Ballerinas

Each mosaic is set in an iron stone, sapphire plate made in Japan. The mosaics are composed of stained glass. The blue rim is hand painted and compliments the stained glass. The reserve bid for each mosaic is set at $100.

Each Piece Has a History: The Mysterious, Old Brass Plate

I bought this old brass tray several years ago at the Ark, nearby my old studio in Chicago. It was my favorite junk store; a great place to search for vintage objects that have been discarded and abandoned. Many items, like the old brass tray, are dirty, tarnished or scratched. But with a good cleaning and a little care, they can be revived.

I cannot find a manufacture’s mark on the plate. Where and when it was made is a mystery. However, somebody, somewhere, at some time held and used the old brass plate. It has a history.

Before giving a new life to the plate after cleaning, I worked with a series of old, quick sketches that I did from photos of ballet dancers . The drawings were done for a show that was canceled due to the pandemic. I have reduced the sketches to simple lines, hoping to capture grace and movement.

Work on the mosaic, giving the old brass plate a facelift, starts with glass selection. After the glass and colors have been chosen, the process of cutting, fitting and gluing begins. This is a slow process as I am not working with a set template. It is a bit like working a painting. I may have a palette in mind but will decide to make changes as the mosaic evolves.

The old brass plate’s facelift is completed. It has a new look, character and its’ own identity.

Broken Glass, Ragged Edges: Each Piece has a History

I recently moved to Saugatuck, Michigan and while setting up a temporary studio space, I began to unpack some of my stained glass panels. Sadly, I discovered that one of the panels was broken, snapped into two pieces.

This was a piece that I did several years ago, just as I was getting back on my feet, after a lengthy hospital stay. In a way, sad, it was part of my rehabilitation program. However, accidents do happen; the glass was broken.

Although the glass was broken, I was aware of a traditional Japanese aesthetic concept, wabi- sabi, where beauty can be found in imperfection. An object can be old, scratched, dented or in this case broken, but has its’ own inherent beauty. As I took a longer look at the piece, the broken glass retained its’ integrity. The jagged edges gave the piece a different and distinct look.

I took the glass back to the studio, filed down the jagged, broken edges, so no one, including myself, would cut their fingers on the glass. Where there was one piece, now, there are two.