Paper Clay

Exploring the Materiality

Paper clay is, as the name suggests, a combination of paper and clay. We have been using a 30% (can be as low as 5%) paper (newsprint or tissue)/ 70% clay (white) combination to explore how this medium can be manipulated. It has been suggested that paper clay will allow us to construct larger works than might be possible with clay alone, without sacrificing any strength. Dry forms can be joined with perhaps more success using a slip of paper clay, due in part, to the presence of cellulose fibres in the clay. Cellulose and clay shrink at the same rate according to Rosette Gault.

A paper clay pioneer, Rosette Gault has published a book (Paperclay: art and practice Gault, Rosette 2018) that explores this medium in depth (well worth a read in my opinion and includes some great images). In this text she explains that ‘each cellulose fibre …resembles a water-absorbent, tapered drinking straw’ and that cellulose has a ‘spiral structure made up of tightly-wound coils, which flex, stretch and compress with surprising tensile strength in many directions’. Over the next 5 weeks will be trying out a few techniques using paper clay in the hope that we can learn about some of the advantages of adding paper to clay.

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Resources

Very early on in our exploration of paper clay (both in liquid form and as a more plastic material) it was obvious that a plaster batt was an essential resource for any potters studio. Plaster draws moisture away from the clay and allowed us to make sheets of paper clay after pouring a layer onto the batt and allowing it to dry enough that it could be handled. While learning the art of mixing plaster (first batch an absolute disaster as I used the ‘looks about right’ method instead of measuring accurately and following manufacturer’s instructions) I did also make a concave plaster mould to help with the construction of convex/concave forms.

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Paper clay sheet and concave mould

From Moroccan lampshades and the mesmerising shadows they cast, to a love of the ocean surrounding Waiheke island where I live, and the stainless steel works of Virginia King https://www.virginiakingsculptor.com , came an idea to create a ceramic form that might cast shadows of wave forms in motion. I started by pouring liquid clay onto a plaster batt to dry out until I could pick it up and cut it into strips. I decided to create a circular wire armature the diameter of my concave mould (this might help when the form is suspended) and applied several coats of paper clay to this and allowed to dry. Corrugated strips of paper clay were laid into the mould and attached to the armature with paper clay slip. Once bone dry (could support itself) I removed the form from the mould and repeated to process without the wire armature, joining the two concave forms while the second was still wet, effectively joining the two together.

Lots of problem-solving with what I am calling my LightWave work. Paper clay strips have been separating from the steel outer ring (not enough paper clay encasing the steel?). When moving the work, the steel is flexing and causing the strips to crack and even break in half. One of the advantages of paper clay is that you can join sections of dry together more successfully than clay alone, and this does seem to be the case (luckily). As not confident that the form will stand on the steel ring, and worried that the strips do not have sufficient strength to support the weight of the work, the question of how to fire it needs some thought. Knowing that the steel armature in my Marine Form was unaffected by the bisque firing, I thought I might make three steel supports that will sit around the outer ring and see if this works (outcome to follow).

With steel supports too unstable, kiln props unable to sit sufficiently below outer ring of work, and worried that the paper clay strips didn’t have the strength to support the entire weight of the piece, back to drawing board. Plan B – construct 4 clay supports that should fit securely around the outer edge when placed on kiln shelf (might be back with Plan C).

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We have been very fortunate to work alongside Peter Collis (and his lovely wife Julie of course), in his Birkenhead studio over the last few weeks. Here is a link to their website https://collisstudios.co.nz. Really interesting to spend time in a working studio space and to have an opportunity to observe him in practice and talk about all things ceramic (and other cool stuff as well). Inspired by their time in Bora Bora and Polynesian design, Peter uses paper clay to construct beautiful waka that reference both his experience there and our Pacific identity. I have constructed my own small waka to remind me of our time together. A couple of images in its greenware state. Thinking about using Egyptian paste (as Peter does) with perhaps a blue/green glaze underneath? Will post an image when completed (currently in a bisque firing).

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Below is the current look of the waka with a cobalt/copper oxide below an Egyptian paste. I was hoping that the oxide would combine with the paste much more than has happened. The increase in temperature has also impacted on the stability of the waka slightly so may be best to call it a day on this version and plan another for 2020 (I may be tempted to add a coating of oxide on top of the paste and re-fire, just out of curiosity).

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Below is the final outcome after adding another application of a cobalt/copper oxide blend. More copper and less cobalt (percentages unknown). Has certainly toned down the overwhelming whiteness of the Egyptian paste.

Below are the final images of my first attempt to create the Eye of Uenuku. The plan for next year is to re-create the eye with a porcelain paper clay and fire to a higher temperature. Hopefully I will remember the challenges from this first attempt and see if I can make changes that will improve my joins and eliminate the cracking.