The majority of the works they carry out are the reproduction of ornamental ceramics of a medium and large format. They use the new techniques and tools the field offers today including furnaces and clay kneader machines, which contribute to a better quality of the pieces. This allows them to be more competitive in today’s market and to lessen the physical effort this type of work requires from the artisan.
The manufacture is artisanal, based on the techniques the ceramist artisans used centuries ago:
-Modelling is the first step to produce serial pieces, religious and non-religious images, and ornamental pieces. They are designed at the workshop and, once modelled or obtained by using profile tools, they create a mould in plaster, from which the reproductions of the piece will be obtained using the technique of pressing them with the aid of moulds or mold casting. The production of moulds is also one of their specialities. They carry out plaster and silicone moulds for reproductions made of plaster, resins, artificial stone, etc.
-The pressing technique is used to manufacture serial pieces out of a mould. Unlike with the wheel, with this technique they reproduce pieces of whichever shape or form: polygonal, circular, embossed, etc. It consists of an open plaster mould, where the clay is manually pressed, adapting to the form of the mould. It is the main process of manufacture of the workshop. This technique, which is being used less and less everyday because of the new procedures which increase production and do not require specialised craftsmen, creates pieces with great strength and resistance, reason why it is the most adequate for large format pieces. Because of its completely artisanal character, it is the technique which most faithfully reproduces the ceramic pieces of past times. Once the piece is unmoulded, they go over it to eliminate the exceeding material and to leave the surfaces completely smooth. Finally, they let the pieces dry and then fire them for the first time before they start with their decoration.
-Lastly, the decoration process. It requires the mastering of a wide range of decorative techniques. Their collaboration in many restorations has taken them to use traditional techniques to reproduce as faithfully as possible the pieces to be replaced: majolica decoration, cuerda seca (dry cord technique), with the use of water, turpentine, etc. After the first firing, the piece is immersed in the enamel base on top of which the motives will be painted with oxides. It is of great importance when it comes to replacing a piece to be as faithful as possible in the reproduction of the enamels and colours to be copied. Their vast experience in this kind of works has led them to create extremely faithful approximations of chromatic tones.
The ceramist tradition of Claudio Sabariego is inherited from his father who was trained in the old workshops in Triana, learning the ceramist’s craft in the workshop of Emilio García. He consolidated as a professional in the field in the workshops of the time, such as the ones belonging to Pedro Navia and Antonio Santos, where he specialized in moulds and casting. He always kept a small workshop where he worked independently, carrying out especially restorations, and working in the replacement or reparation of pieces for emblematic squares and monuments in Seville such as the Plaza de España, the Parque de María Luisa, the Reales Alcázares, etc. Claudio, who had always been close to his father and his workshop, started learning the craft to become a potter at the age of 14. After several years of learning the craft he attended the school of Applied Arts where he qualified, specializing in sculpture, and applying his newly-acquired knowledge to the family workshop.
In the workshop they have accepted the last couple of years interns both from Spain as from the rest of the European Union in collaboration with the School of Arts in Seville.
– Rectorate in Seville, the Former Tobacco Factory: replacement of various ceramic pieces, finishing pieces, tiles, etc. Years 1986, 1997, 2008 and 2010.
– Plaza de España, Seville, since the 80’s decade. The most recent: Capitana, retrieval and replacement of decorative ceramic elements (corbels and tiles) of the courtyard, year 2007, collaborating with the company Tragsa.
– Retrieval of 20 ceramic lamp posts, designed by the Sevillian architect Aníbal González, year 2010, collaborating with the company Tragsa.
– Paseo de Isabel la Católica, various ceramic pieces for urban street furniture, year 2010. Collaborating with the company Martín Casillas.
– Parque de María Luisa, Seville: many works carried out in this enclave and its various roundabouts, the main ones are: Plaza de América, roundabouts of Cervantes and of Rodríguez Marín, Roundabout Hermanos Quintero, Roundabout of the Toreros, Roundabout Azul, Roundabout Vírgen de los Reyes.
– Convent of Santa Clara, Seville: retrieval of ceramic pieces belonging to the cornice of the cloister, year 2008. Collaborating with Construcciones Bellido.
– Reales Alcázares in Seville: rehabilitation of the Troya gardens, carrying out gardening pieces, moulds, zellij tiles and decorative tiling for the Gothic hall. Years 2002 and 2013.