Photos by David Ellis
The fascinating history of handmade ceramic tile—the oldest decorative art—dates back to 4,000 B.C., when Egyptian, Assyrian, and Babylonian artisans began working with colored stone and crafting blue-glazed bricks before making decorative tiles for mosaics, murals, and other home decor. The Romans brought the art over to Europe, where ceramic tile evolved with elaborate techniques and innovative new uses—but it was not until ceramicist Josh Blanc secured a project at the Minnesota State Capitol that noodle making became a resource for his historic restoration of nearly 3,600 Gustavino reproduction 6-by-12-inch grooved tiles. (Keep reading—we’ll explain!)
After receiving a degree in ceramic arts from the Columbus College of Art and Design in 1994, Blanc and his girlfriend, now wife, Layl McDill, moved to Minnesota. Blanc started Clay Squared to Infinity in November 1996 in their attic studio, and over the course of 30 years, has had four locations—the latest in the Flux Arts Building in the Northeast Minneapolis Arts District. Today, Blanc crafts niche handmade tile for kitchens, bathrooms, fireplaces, and art, but the company also carries tile by other local and national artists—offering a large selection of historic reproduction tile lines.
Tell us what noodle making has to do with reproducing historic tile.
I trained as a ceramicist, so some of the first tile I made was while working at North Prairie Tileworks after moving to Minneapolis. When I was 23 and restoring historic tile at the State Capitol, I didn’t really know where to turn to ask questions. We were trying to figure out how to craft these grooved tiles, and one day, I was talking to my girlfriend’s relative who made noodles at the Creamette Factory. He explained how they shaped the noodles, let them dry in various rooms to prevent crumbling, and made dyes and formulas to get a consistent product. Through this experience, I realized tile making is a problem-solving process.
What’s special about your tile?
We don’t use molds. We handcraft and handstamp every tile. I also use an exterior-grade terracotta, which has a warm aesthetic and can last a century outside. So, our tile has an organic feel rather than looking machine-made. Every tile maker has their own style. My style is more loose and abstract [since] I come out of the fine-art world. Recently, though, I bought a CNC (computer numerical control) machine so I can produce intricate, 100-year-old designs more easily. Just like tile makers through the centuries, we’re incorporating new technology and tools to help us do our work.
When creating thousands of the same tile, what keeps you engaged?
Yes, we produce a lot of tiles, but we experiment with the kiln, make new designs, and experiment with the glazes. I get into a zone while making multiples and think about how to craft and innovate.
Who are your primary clients?
We work with homeowners, architects, interior designers, tile contractors, and historic restoration project advocates. They believe in our style and craft. And when I see my finished project in a home, it’s so gratifying. Also, collaboration is such a big part of how we work. Our studio is open so people can stop in and watch our staff creating and moving through the tile-making process. That’s a big part of our success: involving all our collaborators in the process. Even a single tile can transform a space, and my work is so versatile that it can be used in endless ways. I’m always amazed by the arrangements people come up with.
