Environment by environment
Where the work is made to go, where a position needs assessing first, and where it is not offered.
| Position | Stance | Why |
|---|---|---|
| Normal indoor dry areas | Offered | Living rooms, entryways, hotel rooms and indoor public areas. |
| Strong direct sunlight at a window | With care | Prolonged direct sun is best avoided; specific positions are assessed individually. |
| Kitchen away from heat sources, bathroom dry zones | Enquire | Treated as a conditional enquiry — cleaning agents, occasional humidity and edge protection are assessed per project. |
| Direct shower spray, persistently wet areas | Not offered | Outside the current range while the full assembly is unverified. |
| Outdoor, sheltered or exposed | Not offered | Assessed as an individual project. A ceramic substrate alone is not a reason to recommend it. |
| Freeze–thaw regions, facades, high external positions | Not offered | Requires a dedicated product and engineered installation. |
A ceramic panel is not the whole object
It is easy to reason from the substrate: ceramic is fired, ceramic survives outdoors, therefore ceramic artwork survives outdoors. That step does not hold.
A finished piece is a substrate plus an image, plus ink layers, plus any clear or metallic finish, plus whatever bonds it together and holds it to the wall. Each of those has its own behaviour in sun, damp and temperature swing, and a tile datasheet says nothing about any of them.
So we describe the environment the work is made for, and treat the rest as something to assess rather than something to promise. If your project needs a position marked not offered, say so at enquiry — it becomes a specific piece of work rather than a no.
Looking after it where it hangs
The routine is short and the same in every room; it is set out in how to clean ceramic relief art. Pieces with a gloss clear finish or gold-tone detailing want the gentler end of it.