ミラーステンレス彫刻の製作

A strong mirror finish gives the whole sculpture a clear visual rhythm. As you move around a curved work, reflected lines should continue across the changing profile. Dents, abrupt breaks and visible welded seams interrupt that movement. We polish mirror surfaces to 8K or higher, then look along the curves to check how the reflection actually travels.

Brightness alone is not the full test. A surface can catch plenty of light while still showing uneven form beneath it. We inspect the relationship between the shape and its reflection, including transitions around edges, openings and changes in direction. Every seam is fully welded and polished until it disappears into the surface.

Before packing, every mirror surface is checked by eye along its curves: reflections must run smoothly and continuously. For your brief, tell us where people will stand and which sides of the work they will see. That helps us discuss the shape, finish sample and installation together.

For an existing work needing surface care, see our mirror stainless steel scratch assessment and polishing guide. To assess reflection quality before approval, read our guide to judging mirror polish on stainless steel sculpture.

Our standard for mirror-polished work is 316L, indoors and outdoors. We choose it for corrosion resistance and for keeping the mirror finish looking good over time. A reflective sculpture puts its surface at the centre of the experience, so we start with a material suited to that role.

Much of the work in a custom mirror sculpture is in forming, 溶接, grinding and polishing. The material price difference is modest alongside that labour, which is why 316L is our starting point rather than an upgrade reserved only for outdoor commissions.

304 is available on request for budget-sensitive projects. If you prefer 304, include that in your inquiry so we can discuss it with the intended location and finish. We keep the material choice clear in the project brief and review it alongside the visual requirements.

For a garden, plaza or landscape setting, our outdoor sculpture collection offers references for scale, access and placement.

Our work ranges from tabletop pieces to landmark sculptures over 30 metres long, with large works weighing several tonnes. The design process follows the scale: a small object invites close inspection, while a landmark must also work as a clear silhouette from a distance.

Send the intended height, width and depth with your drawing or model. For large work, include site access, the available installation area and any restrictions on transport or lifting. We review the visible shape alongside the sections, base and connections needed to bring it to the site.

For figurative commissions, explore our animal sculpture collection for examples of how pose, openwork and reflection change with the form.

Typical production time is about 30 days for pieces up to 3 m, and 45–60 days for larger works, confirmed per project.

When you send your inquiry, include the required installation date as well as the size and finish. We can then review the production sequence, sample approvals, packing and transport together. Production time and the journey to your site are separate parts of the schedule; your project proposal should make both clear.

We have shipped to Poland, the UK, the Netherlands, Spain, Portugal, the USA, India, Saudi Arabia, the UAE and Qatar.

Include your destination city and country in the first inquiry. Together with the sculpture dimensions and installation date, this lets us discuss the packing and delivery route as part of the fabrication brief.