The range of colours available to the mosaicist is limited. After being initially frustrated by this, I have come to regard this very limitation as a creative tool. If you can’t have what you want, you’ll just have to work harder and be more creative with what you’ve got. This can be challenging, leading to new creative territory and producing results with more ‘edge’ to them than would otherwise be the case.

On a more practical note: mosaic pictures are usually made on a plywood backing, with a wooden frame added. They are tough, easy to clean, and the colours don’t fade. As they can be quite heavy, I’ve found the best way to hang them is to use mirror plates, which can be painted over to match the wall.

Most of the mosaics I make are commissioned, so the time I get to work creatively for myself is a valuable counter-balance. The mosaic pictures are a corner of my work where I have total creative freedom and can develop ‘seed corn’ ideas. It is also a chance to play, a chance to try things out that maybe won’t work - but might, on the other hand, be wonderful!

I think the aspect of mosaic making that interests me most is colour. Balancing a composition, and building a colour scheme is undoubtedly the most exciting part. The thought processes involved do not differ much from the decision making that many artists go through. However, one thing about mosaic has to be borne in mind: you want, as far as is possible, to get it right first time. It is time-consuming to make, and difficult to undo. Therefore you need to be fairly sure of what you are doing by the time you cut and fix the first tesserae. In spite of this, I usually like to leave some small part of the mosaic undecided to keep the creative fun going as long as possible.