How a sculpture is created
The production of my sculptures is a coordinated team effort that demands a creative and enthusiastic approach from all participants. Besides our small core team, we collaborate with various professionals according to the artistic intention of each individual project.
1. ARTISTIC DESIGN
My sculptures mostly originate as commissioned projects. This means that at the beginning of the creative process, there is a meeting and discussion with the investor, an inspection of the intended location, and then contemplation about how to "grasp the assignment" in my own way. The result of this stage is an artistic design that I present to the commissioner.
2. CLAY MODEL, 3D SCANNING, USE OF DATA FOR INNER MODEL PREPARATIO
Next comes the modeling of the sculpture in a reduced scale. From this, data are captured using a manual 3D scanner after completion. The obtained data are used to prepare templates for the production of the inner support model of the sculpture in its actual size.
3. PRODUCTION OF THE INNER POLYSTYRENE MODEL
Subsequently, the sculpture is modeled in a reduced scale. Data are captured using a manual 3D scanner after completion. The obtained data are used to prepare templates for the production of the inner support model of the sculpture in its actual size.
4. REINFORCEMENT AND CONCRETING
During this phase of the production process, we consult with experts from various professions – structural analysis, concrete technology, selection of connecting materials, etc.
5. APPLICATION OF CLAY, MODELING
In this and the following steps, traditional sculpting and craftsmanship come into play again. A layer of clay is applied as evenly as possible to the inner model, which is then shaped sculpturally to its final form. It must be modeled relatively quickly to ensure that the clay dries uniformly in such a large volume and doesn't start cracking.
6. CUTTING THE SCULPTURE INTO PIECES
The ceramic sculpture is then cut into smaller pieces. The joint is not only a necessary technological element but also an interesting expressive feature that, in some cases, I combine with the use of mosaic.
7. DRYING, GLAZING, FIRING IN A CERAMIC KILN
The pieces created through cutting the sculpture need to be carefully documented and marked with numbers and labels so that it's possible to correctly reassemble them amidst the numerous pieces. Each piece is individually refined, and all are evenly dried in a drying kiln and subsequently fired at high temperature in an electric kiln. The fired pieces are glazed with colored glazes and then fired again.
8. SCULPTURE ASSEMBLY - GLUING AND JOINING
Now comes the "masonry" stage. Colorful tiles are glued onto the concrete base.
9. PRODUCTION OF BRONZE PARTS
Considering that most sculptures are intended for freely accessible public spaces, there's a need for maximum durability against various forms of usage. The use of bronze parts allows for not only additional expressive possibilities but also helps to preserve the sculpture's details that are more prone to damage.
10. TRANSPORT AND INSTALLATION AT THE DESIGNATED LOCATION
Completed sculptures are loaded, transported, and installed at the location using handling equipment according to a pre-arranged plan agreed upon by all parties involved. The ceremonial handover is the "cherry on top" after several months of effort.
