When originally conceiving the translation of low-resolution digital photography to a physical form, I wanted to consider the historical precedents to the Cartesian image grid. The most logical of these is the Byzantine mosaic, which is a close ancestor of the digital bitmap. Although not rectilinear in the case of the Byzantine, the use of colored readymade pieces of media to create a larger whole has a rich artistic tradition, and is seen in arts and crafts from collage to needlepoint. This technique is a perfect match for low-resolution imaging and physical representations. However, the images in question were allowed to abstract themselves to a resolution of 8x8 pixels, where only the most basic elements of composition and form would remain. In this way, these seminal works in ceramic digital imaging would explore the aesthetics of the translation from the digital to the physical, and reassign the role of the portraiture to an abstracted composition.