We are really keen to offer BAMM members additional opportunities for training and professional development.  Tamara Froud has been talking to our good friend Will Wootton at King’s College, London and together they have developed a week-long programme of workshops to help members of the mosaic community to improve their skills or to explore new techniques that could take their work into new directions.
This is a pilot programme – we’ve love BAMM members to participate and to give us their feedback to help make events like this part of a more regular programme.
With Will Wootton’s support, we are able to offer this as an exclusive offer to BAMM members for two weeks only, before bookings open to all.

Places are limited – up to 15 per day – and preference will be given to people who can attend the whole week. But we realise this is short notice and it might not be possible, so let us know if you’d be interested in attending for part of the programme.  It is aimed at anyone with some experience of mosaic who is keen to learn more and willing to give constructive feedback on their experience.
After 24th June, the opportunity will be opened up more widely.

24th – 28th July 2017 at the Kings College campus in The Strand in London.

Or help with applying?  Call Tamara to discuss.

Please fill out the form attached below apologies: this is not an online form – hope to work this out for next year! Either print it out, fill it and photograph it OR just send Will an email with the information.





A letter from Elaine M Goodwin, former President of BAMM.

Dear members of BAMM

 A very happy and really creative 2017 to you all...

I am now happily ensconced in beautiful Burgundy in a small village called Couches on the edge of one of the finest wine growing areas in the world...

You could say the place found it was the property that I fell in love I could see it could provide me with a gallery, studio and glorious home. ..with an inspirational garden.  The first part of the renovations are complete and now I have a studio and luminous gallery for my work - open to the public by appointment and on every Sunday afternoon from Easter.

The Theme of the First exhibition which opened to a very warm and well attended (over 150 people) vernissage on 4 November, is "Icones de Lumiere"  (Icons of Light).There are over 40 works including some done since I came here last March.

I am envisaging inviting artists once a year to exhibit with me and already have been approached by some very interesting watch this space!

I now invite you all, when you are in La Belle France to drop by, you are ensured of a very warm welcome and a celebratory glass of Burgundy Crement!... Couches is just half an hour or so away from the contemporary mosaic centre of Paray le Monial (by car) and one and a quarter hours from Paris and 35 minutes from Lyon (by TGV train)

with warm wishes from a Burgundy white with hoar frost...


Elaine M Goodwin


Andamento Editor, Ilona Jesnick received an email from BAMM member Samantha McCabe.  Samantha wrote:

‘After receiving the last edition of Andamento (10) I took myself to see the works of Gertrude Martin at Wilton church near Salisbury.  I was amazed and humbled by the size and quality of her work.  I am so glad I joined Bamm and now receive all of this wonderful information about our past and present Masters.  It was a wonderful edition and inspired me so much in my own Mosaic work. 

‘Thank you for the wonderful information that enabled me to go off and explore the amazing life and works of Gertrude Martin, I learnt so much from her.’

Samantha included some photographs of Gertrude’s work and also some which she has been inspired to create by Gertrude’s use of blue and gold.

Samantha, with Andamento 10, in front of the work by Gertrude Martin which so inspired her.  Photo credit Trevor Ilesley.

Detail of the work of Gertrude Martin at Wilton Church. Photo credit Trevor Ilesley.

Gertrude Martin’s use of blue and gold.  Photo credit Trevor Ilesley.


Samantha’s mosaic inspired by Gertrude Martin’s work at Wilton Church


BAMM forum 2015

Saturday 3rd October

This year's BAMM forum was held at St. John's Church in Waterloo, London. The annual AGM included reports from the Chair, David Tootill, the Treasurer, Jane Visick and the Membership Secretary, Joanna Kessel.


Luciano Bonzini making his presentation to the BAMM Forum

Following the AGM, we heard from guest speakers Luciano Bonzini from Liguria, north west Italy; Heike Zech, curator of the Gilbert Collection at the V&A Museum, London; Mia Tavonatti, glass mosaic artist from Michigan, USA; Mosaizm, a collective of graduates from the Scuola Mosaicisti del Friuli in Spilimbergo, Italy; Veronique Juan from France and Giulio Menossi from north east Italy.

Sunday 4th October

Some of the speakers also hosted workshops at a variety of locations on the Sunday:

Luciano Bonzini: Pebble Mosaic Workshop

Luciano Bonzini’s talk at the BAMM Forum about his work as a Pebble Mosaic Specialist was inspiring, and his workshop the following day proved to be likewise.  He combined his wide-ranging knowledge with a relaxed style and a finely tuned attention to detail to help the workshop participants create a beautiful pebble mosaic for the Community Garden at Julie Norburn’s Art4space studio in Stockwell, South London...

...At the end of the day, with all four squares in place, everyone took it in turns to stand on a step ladder to survey the fruits (or flowers) of their labours.  I’m sure you’ll agree that it’s magical! 

Alex McHallam

(you can read Alex's full report in the forthcoming edition of Grout) 

photo, courtesy Lilian Sizemore, via Facebook

photo, courtesy Alex McHallam


Mia Tavonatti: Painting with Glass

After hearing Mia speak about her work with so much energy at Saturday’s forum, I had high expectations of her workshop on Sunday, and was not disappointed.

She began by explaining how she chooses glass: how she looks for variances in colour, tone and depth; and then showed us how to use these to our advantage when creating a mosaic. We learned about value, temperature and saturation; and how colour choices can make objects come forward and recede. There was a lot of information to take on board, but most of us agreed that we were hungry to learn more, possibly by investing in a colour wheel or even a book on colour theory.

photo courtesy Jane Hughes

We all approached our task for the day with slight trepidation as we chose sections of glass to create a still -life composition of two lemons, using a photograph as our reference. But Mia held our hands and built upon our knowledge as we went along, enthusiastically guiding us in our choices and praising heartily when we got it right.
Who could have guessed that 11 mosaic lemons could look so different, when composed from such a limited colour palate? We all approached the cutting of shapes and sizes differently, and even our colour choices varied. It was a joy to see the end results- even though none of us completed our works of art.

photo courtesy Jane Hughes

Mia gave us all a selection of glass to take home in order to finish what we started, but I certainly took home much more than that. I feel that I am speaking for the whole group when I say that I will never look at a piece of glass in the same way again; and I am chomping at the bit to put all that I have learned into practice.

Jane Hughes


Mosaizm: Andamenti Crash Test & Untamed Texture Class


untamed texture, Marie-Laure Besson, photo courtesy Joanna Kessel

Three of the collective Mosaizim, Matko Ketele, Marie-laure Besson and Ruth Miniola Scheibler followed their Bamm Forum presentation with a stimulating, and somewhat challenging, two part workshop.  The morning focused on historic thematic approaches to mosaic anadamenti – Roman, Byzantine, Classic and Modern.  Students were guided through essential cutting and laying of tesserae within each period and were encouraged to learn from these techniques before being encouraged to develop a personal ‘Contemporary’ visual language.

Veronique cutting Litovi with hammer and hardie, photo courtesy Joanna Kessel

Veronique Juan joined us for the afternoon ‘Untamed Texture’ session and generously provided some of her new mosaic material ‘Litovi’ to trial - an opaque, close bodied mix of ceramic and glass. 


 workshop piece, untamed texture, photo courtesy Joanna Kessel

We were encouraged to use our newly acquired knowledge of andamenti to create textural, abstract mosaics through an exploration of material, scale, cutting and laying.  This was both great fun and quite a testing exercise in only 2 short hours – from the work that was made it looks as though everyone learnt a great deal!

Joanna Kessel

BAMM Forum takes a city near you?

The BAMM committee is currently considering the proposal to host the Annual Forum in Birmingham in 2017. If members from other regions in the UK would like to propose a future BAMM Forum event in their own city, the BAMM committee would be very pleased to hear from them. For further details, please contact Jane Visick.

BAMM West Midlands

BAMM West Midlands Region now has its own Facebook Group at and all BAMM members in Avon, Gloucestershire, Herefordshire, Shropshire, Staffordshire, Warwickshire, Worcestershire and the West Midlands are invited to join us.

John Adey

 BAMM SE Group and Paradise Park 

"Tulips", photo courtesy of Jackie Bishop

The BAMM SE Group recently took part in the Lewes District ArtWave Festival, that ran over the summer. We were invited to exhibit and run workshops at Paradise Park, a major Sussex family venue, over 3 consecutive weekends. The three of us involved – myself, Aimee Harman (SE Co-ordinator) and Christine Walker – have very different mosaic styles, which worked well for the exhibition, and we offered drop-in workshops to both adults and children, from the spacious café area. Overall, it was a success, with a donation from our proceeds going to St Wilfred’s Hospice in Eastbourne, and the possibility of further workshops at Paradise Park. Please see full write up in the current edition of Grout magazine.

Jackie Bishop


Volume 9 of Andamento is now available.  All current members should have received a copy.

To purchase your copy

Contents: Andamento Vol.9, 2015

Lee Helme: Coming to the City; panel 1. In situ, Nando’s King’s Cross.

Lee Helme:  Coming to the City. The Remarkable Art of Collaboration. The story of an award winning mosaic housed in the unpretentious surrounds of a family restaurant near King’s Cross Station. The site-specific mosaic celebrates the millions of travellers who pass through the largest transport hub in Europe and their links to home. Lee Helme tells the story of this monument to the power of collaboration: the South African based restaurant chain and arts patrons Nando’s commissioned the mosaic and the Spier Arts Academy in Cape Town provided the masters and artisans who transformed the work of a renowned designer into glorious reality.  She explains the ethos of the Academy, how it recruits and trains apprentices, its focus on creative teamwork. She explores the skills required to translate a design into mosaic; the use of colour and materials; the task of transporting the mosaic from Cape Town to London and its installation. The mosaic was awarded Mosaic of the Year by BAMM in 2012 and has been an international success since. 


Lillian Sizemore: The Ehling Mosaic Mansion, detail of foyer.

Lillian Sizemore: God Sees Me.  George Ehling’s Mosaic House in Hollywood, California. A chance meeting at a historic mosaic venue in California brought Lillian Sizemore and George Ehling together. Thus began an enduring friendship that granted her access to his hilltop mansion, which he has entirely decorated in mosaic, tile and glass, expressing his lifelong passion for materials and pattern.  George’s life as a Hollywood actor forms an intriguing backdrop to his discovery of the European art and architecture which inspires his own joyful creativity: he riffs on decorative motifs. Sizemore argues that the house belongs among the elite of the fantasy and outsider art environments.  He is not quite self-taught having attended mosaic classes in Spilimbergo to learn from experts. The mansion has been an almost private location but is receiving more and more attention, in part thanks to Sizemore’s publicizing of it. The article includes photos of Ehling’s early ‘show business’ life, including the magnificent image of George as a gladiator in the film Barrabas.

The Sumptuous Surface; Lower Kingswood Church, detail.

Teresa Sladen: The Sumptuous Surface.  The Quest for Colour and Use of Mosaic in 19th and Early 20th Century Buildings.  The Victorian era saw an increasing demand for decorative colour leading to innovations in the manufacture of mosaic. Painted frescoes in the Palace of Westminster having failed – a complex story of damp, London grime and technical incompetence – architects turned to mosaic to provide a durable and colourful surface to decorate the many grand new public buildings and churches, some inspired by Byzantine originals, springing up. The quest to rival the scintillating effects of Byzantine glass began. The Italian Salviati offered glass mosaic of an equivalent brilliance and cornered the British market, but his indirect method produced a lack-lustre surface. Eventually the London firm of Powell & Sons was able, using the direct method of setting with their own glass, to create dazzling mosaics in St Paul’s Cathedral.  But non-traditional materials also had their place as spectacularly demonstrated in St Aidan’s, Leeds, when a matter of cost led the artist Frank Brangwyn to choose the vitreous mosaic invented by Jesse Rust & Co.

Heike Zech: A Useful Occupation; convict mosaic, V&A museum.

Heike Zech (with Ilona Jesnick): A Useful Occupation. The ‘Opus Criminale’ Work of Women Prisoners in the Mid-Nineteenth Century. An ever fascinating aspect of mid-19th C mosaic is the work carried out by the women prisoners of Woking and Fulham jails. The records are sparse and tantalising, but at last Heike Zech has pulled them together to provide an introduction to the means and methods of production and a summary of known sites. Examples of convict work are mainly known in London and the south East, and can be seen in the V&A museum and St Paul’s Cathedral – their most prestigious project. As much as we learn about the mechanics of the prison mosaic workshops, we also discover something of the ambience of female jails and the provision of morally uplifting work to save the convict soul. Finally we discover the true facts of the enduring legend of the involvement of Constance Kent, a notorious inmate, incarcerated for the murder of her young brother, in the manufacture of Opus Criminale.