My unwavering love for mosaics started in Ravenna, Italy, where I was on holiday as a tourist, inspired by Antal Szerb’s marvellous novel Journey by Moonlight. Like his protagonist, I had always felt a desire to escape my life and take refuge in the ancient, magical, and mythical world of culture present in Italy.  On the Via di Roma, I stumbled upon a mosaic workshop almost by chance. It was here, at Koko Mosaico, that I fell in love with the craft instantly, and made the decision to commit to learning as much about it as I possibly could. Following that original trip to Ravenna in 2012, it took until 2017 for me to start my journey in earnest. Since then I have come a long way in developing both my technical skills and my understanding of mosaic art and history.

I started taking courses back home in London, obtaining a Diploma in Mosaic Studies from the London School of Mosaic (LSoM) as a student of Giulia Vogrig. After completing the degree, I stayed on as a freelance tutor and fabricator and have since worked with other mosaic artists on large-scale commissions in collaboration with LSoM.

While studying and gaining work experience in London, I visited Ravenna whenever I could, in order to deepen my technique through intensive masterclasses. My first master, Arianna Gallo, became a good friend as well as a mentor. I am indebted to her and her team for encouraging me to keep learning and believing in my abilities. I took every opportunity to try out a vast range of both ancient and modern methods in her workshop, while aspiring to her high degree of Italian craftsmanship. During my visits to Ravenna, I had a chance to learn the filato technique, first from Annalisa Marcucci, and later from Maria Teresa Vacchini in Rome. This unique delicate filato technique has since become one of my favourites.

I am a member of the Association for the Study and Preservation of Roman Mosaics (ASPROM) and of Tate Modern’s Central and Eastern Europe Plus Acquisitions Committee.

In London, I occasionally run pro bono mosaic-making classes, and frequently collaborate with Maud Milton, a champion of creating mosaic art for the public realm – wall mosaics that can be seen in tube stations, schools and hospitals across the UK.

My original career was in the cultural space. After receiving an MA in Literature and Performing Arts from Eötvös Loránd University in Budapest, I moved to London in 2000 and initially worked for BBC World Service and later with numerous British festivals, theatre companies and cultural institutes. My work centred on promoting and producing cross-cultural exchanges in the visual arts, literature and theatre.  My background in the world of literature and theatre inspires my art today – I like my mosaics to tell a tale, and enjoy the process of delving deep into art history, discovering stories and myths which I strive to weave into my mosaics. I also like to study the history of mosaics, not only the Roman and early Christian mosaics but I also passionately follow the contemporary artists of the 20th century.

I am fascinated by every stage of mosaic making. I love its diversity, working with many techniques, materials, and styles. I use both ancient and contemporary methods and materials, depending on which I (and my clients) deem most suitable for the job. My favourite techniques are the double-reverse Ravenna method on temporary lime or clay putty (base), which I often use when making artworks based on my own designs, and the direct method on cement mortar, which is ideal for making replicas of ancient mosaics or translating paintings into mosaics. My favourite materials are the natural ones, including marble, pebble, stones and smalti (glass paste).

My most unique artworks are my precious micro-mosaic fine jewellery: I use the Italian filato-making technique of creating micro-tiles by pulling molten glass under a gas flame, and I make my own glass rods for my micro-mosaics. This skill is very rare, particularly in the UK.

When I am not in my studio in London I can be found in Ravenna or in Budapest.