Gus Sisto is a carpenter, a sculptor, a painter, a designer and a baker. In short, he is custom tile maker. Starting from a lump of clay, he fashions tiles in various shapes and textures, glazes them, paints them, bakes them, then sets them into place. Where they go depends on the client.
In his 10-year career as a tile maker, he`s been asked to adorn entryways, kitchens, bathrooms, stairways, walls, fireplaces, tabletops, countertops, swimming pools and decks. He`s even fashioned a ceramic portrait of the world that`s on display outside the Pacific Island exhibit at the Museum of Science and Industry. According to Sisto, people come to him because they can`t find what they want in commercial tile.
”I think there is a perception that custom tile is very expensive, compared to commercial tile, but it doesn`t have to be,” Sisto says. ”A small section of tile in a hardwood floor, or a few custom pieces blended with some commercial tile can be very effective.” Another alternative is to handpaint commercial tiles, but Sisto likes to take the process back a few steps. He prefers to start with a clean sheet of paper and a smooth block of clay.
”I meet with the client first to learn what they are looking for and explain what their options are,” says Sisto, who has an extensive portfolio of sample tiles and photographs showing completed projects. ”We can explore patterns, colors, sizes, shapes to create an installation that matches their taste and blends with the decor.” In some cases the tiles are for a historic restoration, where they must match an existing pattern. In other cases, the installation can be the focal point.
Make it personal
”The fun part of getting a custom design is that it can be very personal,” Sisto explains. ”Because the installation can include glass, stone, marble, wood and tiles in any combination, I encourage people to add something personal to the design. I`ve included photographs, pieces of jewelry or cloth and other objects that have sentimental value.”
After deciding on a direction with the client, Sisto goes back to his studio and creates a drawing of how the space will look with the tiles in place. He also makes up some sample tiles to demonstrate what the actual pieces will look like. The size of the custom tiles can range from 1/2 inch to 18 inches square.
If these are approved by the client, Sisto then goes about making each tile by hand, starting with clay that often is made to his specifications by a manufacturer in Minnesota. ”Depending on the glaze and the type of clay used, I may have to make some modifications in the composition of the clay,” Sisto explains. ”Even though a glaze is only two one-hundredths of an inch thick, it has the strength to bend the tile when the tile is fired in the kiln at around 2,000 degrees Fahrenheit. You never know if something is going to work until you test it and see the finished tile.”
The clay is molded and allowed to dry in the open air, but Sisto must watch the drying carefully to see that the tile remain flat. If they curl or crack, he may have to experiment with other clay recipes.
”I find that there are many similarities between baking and making tiles, because the clay is like a dough that is formed by hand to the right shape and with the right texture. The clay is then glazed and baked,” Sisto says. ”No two tiles are exactly alike. That`s part of the beauty of it.”
After half the tiles are finished, Sisto meets with the client again to lay the tiles in position and allow for alterations. Incorporating any final instructions, Sisto then completes the tiles. With all the tiles completed, they are again set in position and any last-minute adjustments are made, he said. ”Sometime a tile or two won`t look right or we will rearrange the composition but that is all part of the process, to make it something the client is satisfied with.”
Sisto also mounts his creations, which involves making the floor solid and flat, then laying the tiles in a shallow sea of concrete. The final step is putting grout between the tile. Once mounted, the tiles could last indefinitely, Sisto says.
Roots in Italy
In making tiles of porcelain and stoneware, Sisto uses a technique called majolica, which was developed in Italy by craftsman looking for a white glazed surface to paint on. Sisto was exposed to the technique while in Italy on a college fellowship. When he returned to this country, he continued to work in ceramics using the majolica technique and concentrated on making platters.
”The transition from platters to tile was natural because the platter is designed to be seen from above, like tile. And each one is a small work of art,” Sisto says.
Also, Sisto grew up around tile. His grandfather was a mason and he often accompanied him on jobs. Then, after studying painting, photography and drawing, the young Sisto found himself molding clay for a living.
To date, Sisto has worked with clients as far away as Europe. Some compositions have involved making a few tiles to accent a room. Others have been complete mosaics. ”I enjoy being able to use many artistic
disciplines,” says Sisto, ”and creating functional artwork that is very personal and will last a lifetime.”
