I paint the hand-painted tiles alone,
because it is a practice that lies between art and craft,
like a kind of calligraphy whose writing is identifiable and unique.
This is a creative process that must remain spontaneous;
there is no prior planning or pouncing pattern, but rather a free interpretation based on a very schematic plan.
And it must remain so, so that the pleasure of painting persists… because it is evident in the result.
Ultimately, this is far removed from assembly-line work and mass production,
and this has a cost that is reflected in the selling price,
but also in the sometimes lengthy lead times.
Even with a repeating pattern, no two tiles are truly identical; it’s these nuances,
sometimes barely perceptible, that make all the difference compared to a mechanically repeated image.
There are also the numerous, often unpredictable, “accidents” along the way… all of which distinguishes them from, for example, artificially crackled “effect” glazes.
The tiles are fired at 800° Celcius.
This process must be repeated for each colour
to prevent them from mixing and losing their individual identities.
Special requests from clients that are not listed in the catalogue,
whether regarding patterns or colours,
must be considered individually.
Fire treatment is a complex technique, and not everything is possible.
Each item in the catalogue required extensive research.
