The cutting is done with precision tools (a sharp plinth and a special hamble mer) that ename to obtain tiny cubes, a few millimetres wide. These pieces, more or less cubic, are called tessella.

I only use the rough, finely granular side of the marble and gems.

A simple tessella, with a slight relief on one of its sides catches the light in a very specific way. The laying of tessella side by side brings forth each unique shade and texture.

Thus, the arrangement of the tessella on a limestone base is done by juxtaposing different shades of finely-cut material.

It is equally a reflection of the so-called carton, a sketch on paper that guides the sense, the movement and expression essential to each subject.

For instance, a human face requires a different setting of the tessella than a landscape.

This stage of the work, imperceptible at first glance, harmonizes with the choice of colors.

Finally, mortar (a mix of cement, lime and fine sand) is poured into the mosaic which renders it very solid.