Título: Tapiz mural "Pleine Lune". Tema: Tapiz mural inspirado en las antiguas pinturas Zen japonesas de temática Lunar. La pieza está realizada con pan de oro de imitación texturizado con varias tecnicas exclusivas (atacando el metal con acido) sobre vinilo sintético. La técnica de dorado tradicional consiste en la aplicación de hojas muy finas de metal (oro, plata, oro de imitación (es decir bronce), alumino, cobre, etc.) sobre cualquier superfice artística (madera, metal, cerámica, textiles, etc.) Poe otro lado, las técnicas de dorado contemporáneo son únicas y exclusivas del artista y tienen mucho que ver con la filosofía experimental del arte contemporaneo del siglo XX. Estas técnicas desarrolladas a lo largo de los años aportan una calidad a la obra que hace que la obra irradie una luz mágica que ilumina el espacio en el que se expone. Técnica: Pan de oro de imitación sobre vinilo sintético: varias capas de pan de ORO DE IMITACION posteriormente texturizado con acidos. Envío: embalaje enrollado protegido Medidas: 209x73 cm. Firmado a mano en reverso Fran González, by @contemporarygilding Año 2025 Fran González in the media: Instagram account with more than 500 photos with the artwork of FG https://www.instagram.com/contemporarygilding/ Article about FG in European Crafts Portal "Mad´in Europe: https://www.madineurope.eu/en/francisco-gonzalez-calleja-contemporary-gold-gilding/ Francisco González Calleja is a ceramist and contemporary gilder whose practice bridges traditional craftsmanship and innovative technique. With over four decades of experience, his work reflects an ongoing dialogue between material, process, and inspiration. His primary gilding method, used around 80% of the time, is water gilding, which he chooses for its lower toxicity and sustainability, especially when working indoors. “In the winter, you can’t always open windows for proper ventilation,” he explains. “Water-based mixtion is safer to use and more comfortable over long periods.” Mixtion, the adhesive used in gilding, can be either oil or water-based. While both offer similar technical results, Francisco notes that the drying time and finish vary, and ultimately, the choice depends on the intended outcome. Water gilding, in particular, works better on shiny surfaces such as ceramics, glass, plastics, or soft enamel. However, the process is rarely linear. He often finds himself repeating steps multiple times, especially when working with textured surfaces. “Sometimes I redo a surface seven times. Sometimes I have to leave it for months and come back to it. That’s part of the process.” A maker by nature Francisco describes himself as someone who constantly needs to work with his hands, not just in the studio, but in all aspects of life. He cooks, grows vegetables, bakes bread, and surrounds himself with tactile experiences. His creative process is exploratory and nonlinear. He rarely begins with a single idea; instead, he describes it as a “cloud of ideas”that evolve through experimentation. “I find 10 different ways to approach a problem. I test them all. Most of the time, they work, I’ve been lucky that way.” When he finds himself limited by the cost of materials like gold or silver, he turns to alternatives such as aluminum, and approaches each new medium by first investigating its technical compatibility. For structural needs, he uses epoxy to combine aluminum with glass or ceramics. His work often takes shape through trial and error, a process he links to planting seeds in a garden and waiting patiently for them to bear fruit. Historical roots and cultural layers Much of Francisco’s work draws inspiration from archaeological artifacts and ancient cultures. Whether it’s the Greeks, Etruscans, Phoenicians, Romans, or the rich hybrid culture of the Moors in Spain, his fascination lies not just in the forms and techniques of the past, but in the emotional resonance they carry. This emotional depth informs not only his ceramics and gilded objects but also his evolving work in jewellery design. The transition into jewellery came from a simple question he and Lula would often ask: How did people first begin to wear decorative objects? This curiosity led him to prehistoric origins, and gradually, toward experimenting with new materials and forms.