Lillian Sizemore is an exhibiting artist and independent researcher working in the field of mosaic for over twenty-five years. She presents on mosaic practice and history at museums and educational forums, and is an invited visiting artist to international mosaic symposia. She was educated at Indiana University-Bloomington in Fine Arts and Italian, University of Bologna in Italy, and The Prince’s Foundation School of Traditional Arts in London. Sizemore consults on mid-20th century mosaic and maintains an extensive visual archive. Services include project management, valuations, and background investigation for clients such as collectors, curators, family estates, and municipalities. Custom reports combine studied insights with a keen eye to situate historic mosaic works into modern and contemporary art movements. Author of “A Guide to Mosaic Sites: San Francisco”, the first city tour guide of its kind. Her published articles are included in Raw VisionSociety for Commercial Archaeology and Andamento/UK. She is currently writing a survey of modern women mosaicists. Lillian’s unique skill set and attention to detail enhance and elevate all projects. 


I was introduced to mosaic as a child and my first trip to Ravenna, Italy in 1979 included a visit to a mosaic workshop. I have traveled to Italy frequently to visit family and study. I trained as a photographer and printmaker, had a decades-long career as a graphic designer, and worked professionally as a florist and garden designer. In 1994 I began experimenting with broken tile for exterior and interior spaces. I embraced the philosophical metaphor of the fragmented surface—how something broken and discarded could be made whole and beautiful again.

In 2000, I studied classical mosaic techniques with Luciana Notturni. I moved toward cut materials using classical hammer and hardie techniques. I focus on “al cavaletto” (easel) works and sculptural pieces rooted in geometry, nature, and esoterica. I pursue studies in midcentury modern mosaic, researching and writing, with a particular interest in women’s roles and the conservation of mosaic from the recent past. Being a maker informs my writing with embodied subject knowledge that is often bypassed in art history texts.

Luciana Notturni


I incorporate mosaic materials with wood and the Japanese technique of Shou Sugi Ban (charring wood), to relate to the alchemical processes. The works: Lotus Pods, about origins of sitting meditation; Opus Nigredo, about ephemeral endings; Opus Albedo, about emergent light, are examples. Nectar, is first in a series of “Mind Flowers” based on petal geometry.
I rarely purchase material, prefering to work through the gift and scavenge economy. I work with vintage and collected materials.
I prefer to work in direct method; undulating textures, so that light can reflect, enter and exit the materials. I want the viewer to sense they are entering a little city or landscape, as if flying above. I’ve observed that viewers will often hold up their hands in front of my work, as if warming themselves by a fire. I appreciate this impulse. My intention is to create works that permeate and warm people’s souls.

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