Piecing together a career in the arts

Watertown resident Mike Mandel makes his living by creating mosaics for public buildings. (Suzanne Kreiter/Globe Staff)

Photographer Mike Mandel was living a "typical starving artist existence" when he reached a crossroads, it was time for a house and family, but how was that possible with sustenance living?

He was creating free images for billboards - iconic statements about commercialism and advertising - emotionally satisfying work, but frankly, it did not pay the bills. It was around this time, the early 1990s, that a revolution was taking place as photography moved toward digital technology.

An idea clicked in Mandel's head: Would it be possible to take digitized images and somehow translate them into architectural forms? Perhaps he could create mosaics, using pieces of tile less than half an inch wide, and apply them to a wall or column to form a photographic illusion of the original picture. The resulting mosaic could be a compelling piece of public art that would "affect people for generations and outlast me."

Today Mandel's work can be seen in stadiums, colleges, government buildings, garages, police stations, and more, and he is known nationwide for his photograph-based mosaic imagery. Stroll through Tampa International Airport, for example, and you'll see a 6-by-9-foot glass mosaic of passengers on an airplane. "People see the work from a distance, and then come up to it and realize it's actually made of tiny pieces of tile," says Mandel.

And thanks to many public art programs around the country, in which local or state ordinances require a portion of new construction budgets to include funds for art, Mandel now has a strong career in public art. He bids on commissions to create art for public buildings, whether it's a mural at a convention center or a high school hallway. This means putting together proposals, appearing before committees, presenting PowerPoint slide shows, and being able to negotiate and compromise about the finished product.

"You're working for clients, not just doing whatever you want to do," says Mandel. "As an artist, it's a whole different ballgame."

How does it feel to walk through, say, the San Diego airport, and see your mosaic on the wall?

What more could you ask for? That's exactly what an artist hopes for. Hopefully some of my humor, personality, and intrinsic identity are translated through the imagery that I create. The fact that my art is out there, in the public sphere, means that people are being affected by it.

What is the process of applying to get a commission for one of these public art projects?

I'll prepare as many as 40 to 50 proposals a year, but only get to the finalist stage of about six of those, and then, in the end, be awarded only one or two projects. It's a very time-consuming process. You're competing against 400 to 500 other artists, and you need to send your qualifications, documentation of past work, and other materials, which are reviewed by a committee.

What are some things you're working on right now?

The City of Cambridge is renovating Brookline Street, where the Middle East is located, and I'm working on a sidewalk mosaic that depicts businesses and people who lived on that street. There was a bakery, an old elementary school, and a telescope manufacturing company, and more, and the mosaic will show snapshots of this thriving community.

What is the average commission for a public art project?

Commissions can vary, depending on the size of the project, but for me, it needs to be around the $100,000 mark for me to be interested. But keep in mind that a typical artist's percentage of the profit is 20 percent, because much of the funds goes to materials and the people I hire to fabricate the mosaic as well as studio time, travel, insurance - the commission is all part of that.

How do you create your mosaics?

First, I'll do the research, finding photograph images, digitizing them, and making a collage, creating the appropriate design. The committee will review this and ask me to modify, if necessary. Once approved, I have my own proprietary software that translates the image into the different tile sections, which are printed on sheets of paper and include every color tile that will go into the image. Then I'll hire people who literally put the tile on an organizing board in the right places; we'll cover the tile with clear plastic that keeps it in place, and then label it and ship it off to the tile contractor. He'll prepare the wall, and then put it up like any tile contractor would, and troubleshoot any issues, such as missing pieces.

You recently erected a mosaic of [Barack] Obama, using 4,320 glass and porcelain tiles, installed for public viewing on your porch in Watertown. What inspired that?

I felt inspired by Obama's intellect and vision, and wanted to create an image that made an expressive statement. The reaction has been very positive, but I don't intend for it to be a permanent piece. It will probably come down this spring.

Your work needs to be approved by committees and reviewed by numerous stakeholders, does this dilute your art?

I have an ambivalent feeling about being in the world of public art. The type of public art we have here in the US is too safe, secure, and not at all controversial, which is a shame, because people should have something to look at that questions their values. But that type of art exists more commonly in Europe.

So, you have no regrets about being the starving artist anymore?

I recognize the limitations I have to work with. It's not the ideal situation, but I'm not complaining because I could have a terrible cubicle job somewhere instead.