The Design
I
create a design according to the client’s wishes. and once
the colors, size and finish are agreed upon, I begin work.
The
Sculpting Process
I begin the
process by rolling soft clay to 1/2” thickness with a slab
roller.
I join the
slabs together on a large easel.
I use a variety
of tools to smooth the slabs together to form one piece.
I build up
relief and sculpt details and texture into the clay. This process
takes several days, depending on the size and complexity of the
artwork.
When the details
are finished, I cut the mural into large sections while the clay
is still soft. I cut it into smaller pieces because a large relief
mural cannot be dried and fired in a single piece without splitting.
Smaller pieces also make the drying, coloring and firing process
manageable.
I lay the
easel flat and then cover the clay loosely with plastic for a
few days until it sets up to the consistency of leather.
When it is
“leather hard”, I lift the pieces carefully from the
board and hollow out the high relief areas for easer drying and
even firing (not to mention making it lighter) I also number each
piece on the back for easier reassembly.
I place bags
filled with sand on the corners to weigh them down to prevent
the clay from warping while they are drying. During the drying
process, the clay will shrink at least 5%.
The
Coloring Process
When the
clay is “bone dry”, I color the mural pieces meticulously
with underglazes (chemical colorants that adhere to the clay at
a high temperature).
The process
is not like traditional painting where what you see is what you
get. Underglazes are applied in several coats, with time-consuming
layering. The color applied is not the color that will come out
of the kiln, so precision color can only be achieved with years
of experience and experimentation.
After the
color is applied, the pieces are fired over 2000 degrees F and
the clay hardens (vitrifies) and the underglaze colors bond with
the clay. I brush a darker color into the crevices to bring out
the depth of relief.
I then apply
a clear coat of glaze and fire the pieces again. The clear glaze
brings out the final brilliant depth of color.
For the final
coloring step, I apply 22 kt. gold highlights to the piece and
fire it again to a lower temperature.
The
Installation Process
Each mural
is mounted according to the unique situation.
In some cases,
murals pieces are mounted directly onto walls like tile.
In this case,
the mural pieces were mounted with construction adhesive onto
a wood panel and then colored grout was applied in the cracks,
giving it a clean, finished look.
These 4 ft.
mural pieces (weighing about 80 lbs each) were mounted on sturdy
french cleats equipped with a locking mechanism..
