I recently completed a custom architectural ceramic fireplace surround ( title “SIEMPRE SONADOR”. Above is a picture of it prior to installation.
I will be giving a basic description of the process here in this blog.
First I met with the clients to determine their personal style and get an overview of the project and its layout. This is an important step as it is necessary for the 2 parties to decide if they can work together. I really love old architecture and figurative movement and use it whenever possible and I was happy that my ideas for the fireplace went well in the home and space.
The fireplace would be built for an old 1900’s period style home and would be the center of attention in the dining room area. The family is the owners of the Elk lake bed and Breakfast in Victoria BC Canada and take an immense amount of pride in their home and business.
I did an initial drawing of my concept and ideas, as well as a materials list and quote. From my drawings I set out to sculpt the parts of the fireplace that would take the longest and would need to be ‘repeated’ or molded for consistency in the design.
I sculpted relief on gessoed canvas out of paperclay let dry and painted on the rubber molding compound. I let it dry between thin layers building up over several days to a week depending on how thick I wanted my moldFor some of the relief tile I used the upholstery on the back of the chairs to match the design elements.
Once I had completed the basic designs I needed a reoccuring theme within the design itself. I chose the iris for its meaning and beauty.
Plus I needed added dimension for a more sculptural and aesthetic appeal. I knew The focal point would be the keystone tile which would be an original one of a kind sculpted figurative relief to match the left and right figures. Here are pictures of the sculpting of the keystone and iris’s.
The sculptures were placed on a sheet of drywall and left to dry – the corners were weighted and dried slowly by covering with plastic.
The clay is a porcelain body and slow drying was necessary to avoid cracking or warping. Cracks that did appear were immediately filled with a mixture of the clay body, toilet paper and water (paperclay). Once the fireplace was bone dry it was bisque fired to cone 018, After it is cooled down and removed from the kiln it was submerged in water to test for cracks which were filled with the paperclay mixture.The fireplace was sanded and dried again. It was refired again to cone 018.
Here is a picture of the unpainted fireplace. Once the fireplace was dried again and sanded it was high fired to cone 4 we had to choose a color. After tooooo toooo many glaze tests the customers finally settled on a bronze patina highlighted with dark brown umber and cobalt green accents. Here is a picture of my signature on the back of the iris tile.