The technique of subcrystalline
I made the figures of Cirque du Soleil with the colombino technique, which consists in twisting clay cylinders of the desired size and length, placing them on top of each other to build the object. The colombino does not pose constructive constraints to shapes and allows to obtain an already empty object avoiding the cutting and emptying operation .
A first biscuit firing is then carried out, then a glass or crystalline one (sub-varnish or subcrystalline decoration) and a subsequent firing.
The subcrystalline technique allows me to obtain unpredictable speckled, spotted or snakeskin effects. In the Cirque du Soleil I used enamels based on different materials whose descent and outcrop occur almost randomly. The thickness of the enamel determines the depth and intensity of each individual color, it being understood that certain limits must never be exceeded, because the glass component of the enamel tends to hurl on the surface, irreparably ruining the object.
The color thickness is therefore a very critical aspect for the object to resist traction well. In fact, it must be remembered that when it cools, the ceramic goes into traction, that is, it contracts and in the contraction creates cracks. If the adhesion below is strong enough, the crack remains attached, vice versa it detaches, ruining the object.
The glass details of the Collection are made separately with the lamp or torch technique and then included later, because the materials used have different melting temperatures.