For over a decade we’ve spotlight top artists, innovators, and cultural leaders who keep Italian heritage alive through their talent, expertise, and creativity. Today, we’re proud to feature Danilo Bonazza, a world-renowned mosaic artist born in Ravenna — the historic birthplace of Byzantine mosaic tradition. His work spans global hotels, public spaces, and private collections, blending ancient techniques with modern design.
In this Q&A, Danilo shares how Italian roots shaped his path and how mosaic art continues to evolve as a living expression of culture.
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Danilo Bonazza
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Danilo, take us back to the beginning—what first drew you into the world of mosaics? I was born and raised in Ravenna, the heart of the mosaic tradition. From a young age, I would walk past the ancient Byzantine masterpieces and feel their presence almost like living beings. Their colors, their permanence, their ability to tell stories across centuries fascinated me. I realized that mosaic was not only an art form, but also a language of eternity. That calling never left me.
When you sit down to start a new piece, what does your creative process look like?I always look at where the artpiece goes, the area surrounding it. If it’s a pool then making sure that it fits well into the landscape or the house is essential. I let the idea breathe, sketch it loosely, and then imagine how light will travel across the tesserae. A mosaic is not just an image—it’s a dance between light, shadow, and texture. I experiment with color palettes, but I never lock myself into rigid plans. The piece evolves as I cut and place each stone. It is a dialogue: the materials speak, and I listen.
Mosaic art uses such unique materials—what are your favorites to work with, and where do you find them? My favorites are glass and precious materials like gold and platinum. Glass has an unmatched brilliance, like capturing light in solid form. Stones—marble, granite, even river pebbles—give a sense of earth’s voice, grounding the work. I source them directly from traditional foundries and quarries in Italy, but I also travel, so sometimes I use materials from different countries. Each carries a memory.
You’re known for blending traditional and modern styles. How do those two worlds come together in your work? Tradition gives me discipline. Modernity gives me freedom. By respecting the techniques of the masters—cutting, placing, spacing tesserae—I preserve the soul of the art. But by embracing contemporary forms and abstract compositions, and especially using new techniques and installation materials,I allow mosaics to live in today’s world. The combination creates something timeless: it feels alive and relevant.
Out of all the projects you’ve worked on, is there one that really stands out as your favorite or most meaningful? Too many to select just one. I worked for museums, some of the best hotels in the world, kings and sheikhs, Hollywood actors, musicians and Nations leaders. Some of these projects I can talk about and some I cannot due to NDA agreements. For sure a great project was the Wynn and Encore hotels in Las Vegas and their twins in Macau, The Crown Hotel In Melbourne, a swimming pool of a major TV show and other beautiful swimming pools.
Mosaics require incredible precision, but they’re also an art form. How do you balance the technical side with your artistic vision? Precision without vision is lifeless. Vision without precision collapses. The balance comes from rhythm. Each tessera is placed with exact care, but the overall flow must remain organic. I often compare it to music: each note must be precise, but the melody must breathe. Knowledge of the materials and the particular environment where they are installed is also crucial for a successful result.
Italy has such a strong mosaic tradition—how does your heritage influence your designs? Italy is in my veins. The Byzantine mosaics of Ravenna, the Roman floors of Pompeii, the Venetian glass workshops—they are part of my DNA. But I am not only an heir; I am also a bridge. My heritage gives me a foundation, but it also challenges me to push boundaries so the tradition doesn’t remain a museum piece—it continues to evolve.
Some of your projects are massive. What are the biggest challenges with large-scale mosaics, and how do you manage them? Scale demands patience and logistics. You must plan every section so it fits seamlessly when assembled. Working on scaffolding for months or even years tests the body and the spirit. But the greatest challenge is keeping the vision alive ensuring that the small pieces don’t lose sight of the big picture. I manage this by constantly stepping back, re-centering myself, and remembering why I began the project.
Looking ahead, where do you see mosaic art going in the future? Are there any new trends or techniques that excite you? I see mosaics breaking free of walls and floors, moving into sculpture, design, and even digital integration. Artists are experimenting with new materials—recycled glass, metals, even plastics—giving mosaic a new voice in sustainability. Technology excites me too: 3D printing allows for forms we could not imagine before. Yet, no matter how much it evolves, the essence remains the same: hand, glass, and vision. That eternal dialogue between material and spirit will always be the heartbeat of mosaic art.
