Paper Clay Adventures

Right now I feel like I am participating in a mini, self-imposed, paper clay residency.  I got really fascinated by this when Rebecca Hutchinson taught at CSU Summer Arts in July.  Rebecca encouraged me to try this technique of stenciling, painting, and silk screening on a slab of plaster and then pouring a layer of paper clay slip on top.  I was so wrapped up in my installation project that I never got around to trying this out.  So now I am making up and giving it a whirl.

I want to expose a screen next but first I thought I would start off with a hand cut stencil.  I actually forgot about drawing directly on the plaster so I probably would have started with that.  Here I am using a thick porcelain slip made from my throwing leftovers to which I have added toilet paper.  I took a small amount of it and tinted it with turquoise stain.  

I had to let go of my ocd, perfectionistic tendencies with this whole process.  The stencil is not precise and the slip kind of likes to spread under the stencil a bit.

The crazy part is when you pick up the bucket of paper clay slip and pour a thick layer over the whole slab, obscuring the image in the process.  By the way, don't stop pouring and run to get your camera as the leading edge of the slip will start to dry out and will leave a line of demarcation after you pour the rest of the slip.  This line will have a tendency to want to crack later when you are manipulating the slab.  Good to know, just pour it all at once and spread it quickly and thick.

After a few hours, depending on weather (it was a hundred degrees when I did this), a half inch thick pour of slip will have turned into a quarter inch thick sheet that can be peeled pack from the plaster.  I was so excited to see that it actually worked and didn't tear.

I had some extra so I used a commercial stencil on this smaller plaster slab.

This close up shows the paper fibers pretty well.

So, I learned that it is good to plan what you are going to do with your sheet of clay before you make it so you aren't running around scratching your head while your sheet starts to dry.  I am not so sure that utilitarian pieces are the best use of this process but I didn't have a sculptural project in mind.  I also learned that paper clay cuts a whole lot easier with scissors than with a blade or wire.  

I love this "rolled" foot.  I enjoyed experimenting with this because it forced me to let go.  I also like that their where certain things the porcelain slab would and wouldn't do.  Because of this,  the evidence of the process is necessarily revealed such as the cracking of the surface of the clay as it was formed.  Hmm, I'm kind of liking this.  It will be interesting to see where it leads me.  

If you want to know more about working with paper clay, an excellant resource is Rosette Gault's book on the subject.

Paperclay Vessel

All the beautiful flowers blooming and the early morning coolness on my front porch enticed me to stay home and experiment with some paperclay ideas.  In July I was able to work with ceramic installation artist, and professor at the University of Massachusetts at Dartmouth, Rebecca Hutchinson.  She was our last visiting artist in Clay as a Medium for Sculpture at CSU Summer Arts in Monterey, CA.  She taught us an amazing array of techniques for "breaking the rules" when working with clay. She taught us about the different kind of cellulose fibers to use and what kind of stuff to dip into paper clay slip.  She also showed us how to make durable, non-fired pieces and how to incorporate silkscreen and stencil use with colored slips for surface decoration.  It was a ton to cover in just three days.  If you ever get and opportunity to go to one of her workshops I would highly recommend it!

I thought I would start out simple with these little clay medallions I made by dropping dollops of paperclay onto a plaster slab to stiffen up.  Need more plaster slabs!  And minions to make these little cookies while I construct the forms.

The construction process was oh so delightful! I started the base out on an upturned bowl covered with paper.  I left it out in the sun to stiffen up and then took it off the mold, turned it over and started adding my cookie "shingles."  This stuff is amazing.  I love that you can add wet pieces to bone dry work.  It is also really easy to rehydrate areas with a spritz of water as the paper keeps the clay from weakening.

Day two.  You can see where the bottom section has dried and I continued shingling on the fairly dry rim.

I really wanted to continue and make the form even larger if it wasn't for a few crucial factors.  One, I ran out of slip!  Two, I needed to make the base thicker and better able to take the weight of the piece and not be topsy.  Since I started out with all these cookies of pretty uniform thickness there just isn't enough weight at the bottom.  I think the next one will have a thicker pinch or coil base to start working on. The last issue is transportation.  Oh yeah, when one does not have a kiln...  You get the idea.

I love how the interior looks like scales.  I might flip the cookies around on the next piece so the flat, scale-like surface is on the outside.  Now to figure out how I want to finish and fire this piece.  I am thinking of the soda kiln but not sure if it will fit.  I might need to make some smaller ones for that little kiln for sure.