A complete copy of the article: Hay, G., (2007) The Paperclay Revolution, National Council on Education for the Ceramic Arts Journal, USA, vol: 28, 104-105. Reproduced with author's permission. More articles on paperclay here, and by the author here.
This paper was presented at the NCECA (National Council on Education for the Ceramic Arts) 2007 conference, in Louisville, Kentucky, USA on March 15 2007.
This paper was presented at the NCECA (National Council on Education for the Ceramic Arts) 2007 conference, in Louisville, Kentucky, USA on March 15 2007.
The paperclay revolution
An international clay revolution has been building for the last 20 years. Currently over a third of all clay used in Australian studios and classrooms is paperclay. (1). While paperclay use started in Australia and the USA about the same time, the current USA use is well below this percentage. However USA volumes have consistantly been doubling annually, for the last decade (2). While there have been differences between counties, what is consistent is a steady increase in paperclay use, and its spread across all ceramic techniques and all types of clays(3).
An international clay revolution has been building for the last 20 years. Currently over a third of all clay used in Australian studios and classrooms is paperclay. (1). While paperclay use started in Australia and the USA about the same time, the current USA use is well below this percentage. However USA volumes have consistantly been doubling annually, for the last decade (2). While there have been differences between counties, what is consistent is a steady increase in paperclay use, and its spread across all ceramic techniques and all types of clays(3).
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Paperclay is just any clay, to which paper fibre has been added. It is made in the studio, or can be bought from most clay suppliers, who source it from clay manufacturers in North America, Europe, Australia and New Zealand. As the paper burns out above 451 F (233 C) leaving the original clay body, it can be fired and glazed in the usual way.
Despite this similarity, paperclay radically overcomes many of the limitations of traditional clay. The paper fibres makes the clay stronger when dry, the reverse to conventional clay. Paperclay can be dried faster with less cracking, accalerating - drying times in some cases from days to hours. And perhaps more difficult to grasp, paperclay enables radical joining between dry paperclay and wet, plastic and dry paperclay! While these are the facts, the new ways that paperclay can be used in the studio and classroom, are still emerging. To illustrate this: many people believe that paperclay is lighter. Users actually use less paperclay, as walls can be drier and so thinner. Most people do not realise the natural extension of this, that works can actually be absolutely dry, before adding on softer paperclay! This is a gift for those who cannot get into the studio everyday, or forget to cover work. Damp cupboards are redundant. Another example: recycling of dry paperclay scraps into slip takes minutes, not days! This is because the paper fibres suck the water evenly into the paperclay body. This reduces the need for a pug mill. But because of the organic material in paperclay, scraps must be stored dry, until just before the recycling. |
Long, thin but strong, dry pieces can be joined quickly. Ancient Tribe. 1994. Ceramic Porcelain Paperclay. 22 x 9 x 7 inch. Artist: Graham Hay, Photographer: Victor France.
Visit www.grahamhay.com.au/hay1999ancient.html for a step-by-step lesson on how to build this work (and video).
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These two examples contradict conventional clay wisdom and studio practises. Consequently, established practitioners and educators using paperclay struggle to break with decades of habit and centuries of tradition. It is not surprising that many are confused, critical or actively resisting the spread of the new material. Paperclay is a quiet revolution in that it has occurred "under the radar". This is not just due to the resistance of experienced and traditionally trained potters and educators. Generally, paperclay have been embraced more quickly by the more adaptive student and recreational practitioners, but who have a lower profile. Also, when marketing their paperclay work they don't generally describe their paperclay works as "paperclay". Technically speaking this is correct, as the fired material is ceramic, with the paper burnt out. Others don't describe their work as made from paperclay as they now have a technical and commercial advantage (imaging making hundreds of joins instantaneously). Others avoid mentioning their use of paperclay to prevent buyer confusion with the less durable papier-mache. USA paperclay manufacturers generally do not appear to actively promoting paperclay. They have individual licences to make the patented (US only) material, so they each have a legal "monopoly", which combined with high freight costs for clay, gives them geographic monopolies. The reverse has occurred in the much smaller Australian market, where retail shops stock more than one brand of paperclay, so manufacturers have had to actively promote their individual brand of paperclay. Some have used their paperclay as a way to get their full range of clays into retail outlets. Paperclay has been more important for them, for these reasons. USA manufacturers may not be promoting paperclay for other reasons. Because paperclay is biodegradable and has a shorter shelf life, it requires greater resources and attention in the factory and the distribution system. My limited experience in the USA suggests that there may be a higher incident of bacteria growth in the US manufactured paperclay compared to Australia (despite a generally hotter climate in the latter).(4) |
Very thin pieces of dry paperclay can be simply dipped and stuck (dipstick technique) together in 3D doddling.
Tribal Revolt. 1994. Ceramic Earthenware Paperclay. 21 x 19 x 18 inch. Artist: Graham Hay, Photographer: Peter Northcott.
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Because each Australian manufacturer has researched and developed their own paperclay, and established strong brand loyalty, they hope to discourage new manufacturers of paperclay. The net result of all this is that Australian manufacturers have actively increasing public awareness and use of paperclay. This one of the major cause of the greater use of paperclay in Australia.
Another possible reason for the difference between countries is that the US ceramics community is a larger and more self-contained community, therefore slower to change direction. But like a supertanker it is starting to turn. This is because, despite these disincentives to describe; manufacture; or promote paperclay, it has spread. It has spread because it immediately offers so many advantages, compared to traditional clay, that it makes sense to use it. Paperclay appeared simultaneously in a number of countries. In 1987 in a UK journal article ceramist/paper maker Carol Farrow published her experiments in using different types of paper, that had lead to her making "paper" with very high clay content, that were then fired (5). In 1990 at the Canada's Banff Centre for the Arts, Abe Wagh, a UK painter/graphic designer/ceramist, introduced Rosette Gault to the idea of mixing paper pulp to clay, before she undertook her own research and applying for a US patient.(6) In the 1960's Western Australian Ceramic Chemist, Jaromir (Mike) Kusnik, had been inspired enough by research into specialist ceramic papers as industrial kiln shelf protectors, to develop his own paperclay, and in 1987 exhibited and gave a workshop to the W.A. Ceramic Study Group on how to make non-warping paperclay tiles.(7) In 1992 Mike introduced it to myself and other students at Edith Cowan University. In my first work I discovered that I could combine slip, plastic and dry paperclay. My subsequent unusual work and techniques attracted awards, attention and even a paid workshop attended by fellow students and staff at Edith Cowan University.(8) Word quickly spread, with workshop invitations coming from local and interstate organisations. |
Because of the strength of dry paperclay, pieces can be longer, thinner and stronger. Greater artistic expression is possible.
Stirred. 2002. Ceramic Earthenware Paperclay, Steel. 71 x 43 x 43 inch. Artist: Graham Hay, Photographer: Victor France.
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As soon as Rosette Gault (USA) and Brian Gartside's (UK/NZ) journal articles appeared (9), I sent slides and described what I was doing, and they rang me. The result was my student works appeared in Rosette's articles and books (10), plus in (and on the cover of) Anne Lightwood's UK book (11). Then came invitations to ceramic and fibre conferences and symposiums in Australia (1999, 2001, 2003), Scotland (2000), London (2001), Wales (2001) and Lithuania (2002). Eventually Steve Mattison, at the International Ceramics Studio in Hungary, approached me with the idea of leading an international paperclay symposium and exhibition. While we were unable to tempt Brian Gartside, Rosette Gault joined me as guest artists, as well as another 17 participating artists from Europe, America, Europe and Asia.(12) So I have been very fortunate, to be associated with a new material that virtually sells itself.
While most of my workshop participants commenting on the self-evident advantages of the medium, initially not many kept up making paperclay (and therefore using it). This was because most Australians prefer to buy, rather than make clay. Not until people saw paperclay available, next to their favourite clay (and sometimes made out of their favourite clay), did paperclay use begun to really increase. For all the 160+ paperclay workshops and talks I have given, the biggest impact on paperclay demand came from artist and teacher training (both student and professional development). Robyn Lees had a big impact by presenting paperclay as a quicker and less stressful way to teach traditional clay techniques in schools. Others, like myself have been more radical in how we use paperclay. The principal is simple; build work out of shaped and then dried paperclay parts. This uses paperclay's strengths. First: unfired paperclay is at its strongest when absolutely dry, so there is less breaks. The cellulose fibre strengthens the dry body, just like steel reinforces concrete that has set. This principal has been used for centuries in adobe and pug houses (such as the century old house I grew up in, in New Zealand). Secondly: the pieces can be fast dried as the paper fibre enables the rapid movement of water and clay through the clay body, with less warpage and cracking. |
With more adventurous work came the need to find ways of assembling work after shipping.
Mixer. 2003. Ceramic Earthenware and Terracotta Paperclay. 59 x 22 x 22 inch. Artist: Graham Hay, Purchased by Barbara & Bill Butler, Photographer: Victor France.
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Thirdly: the paper fibre enables quick dry-to-dry joins to be made with paperclay slip (regardless of humidity). If made correctly, these joins are as strong as the rest of the work. The finished work can be fired immediately.(13) This is just another example of how paperclay has radically changed hand building techniques.
These are many more artists developing paperclay inspired changes to all ceramic techniques, be it wheel throwing, slip casting, raku firing, wood firing, and so on. They are doing this in paperclay made from all types of clay, i.e. earthenware, stoneware, terracotta, bone china, porcelain, and so on. Over 67 artists from Australia, New Zealand, England, Wales, Ireland, France, Hungary, India, Pakistan, Denmark, Singapore, South Korea, Sweden, Finland and the USA, freely provided the 185 images I presented at NCECA. Their images help to illustrate the diversity and depth of the quiet paperclay revolution slowly growing over the last 20 years. Due to the huge interest at NCECA in their work, subject to their permission, I will post their images and contact details at www.grahamhay.com.au/2007NCECA.html. Graham Hay is graduate of Dunedin Teachers College (New Zealand), Western Australian, Edith Cowan and Curtin Universities. He is the founding member of the Thermal Shock Ceramic Group and the Robertson Park Artists Studio. In 2004 Graham lead the first international paperclay symposium in Hungary and will be demonstrating at the 2008 New Zealand National Potters Conference. |
Endnotes
(1) Personal communication: clay retailers in Perth, Western Australia, February 2007: over a third of all clay sold to Western Australian studios and schools is paperclay. (2) Personal communication: Rosette Gault, US paperclay patient holder, Hungary 2004. (3) To gain an overview of the diversity, read 35+ free international journal articles and internet discussions, at www.grahamhay.com.au/paperclay.html. (4) In March 2007 I gave six paperclay workshops across North America and had informal communications with many paperclay practitioners. Plus 15 years experience working with different paperclays in Australia, Asia and Europe. See list at www.grahamhay.com.au/workshops.html. (5) Farrow, C., (1987) Paper/Clay, Artists Newsletter, United Kingdom, April, 20-1 (copy at www.grahamhay.com.au/farrow1987.html) (6) Gault, R., (1992). Amazing Paperclay. Ceramics Monthly, June/July/Aug, 96-99. US Patent No: 5,726,111 March 10, 1998. (7) Hay, G., (1996) With but not on Paper, a history of paperclay in WA, Pyre, Clay & Glass Association of Western Australia, 9, 4-5. see copy at www.grahamhay.com.au/haywahistory.html. (8) Ellery, D., Pyre, Making clay while the sun shines, or looking for a needle in a hay stack, Pyre, Clay & Glass Association of Western Australia, 1994, Issue 2, pp.6-7. (9) Gault, R (1992). Amazing Paperclay. Ceramics Monthly, June/July/Aug, 96-99 and Gartside, B. (1993). Mix what with clay? New Zealand Potter, 35, (3), 32-33 (10) Gault, R (1998). Paper Clay, A & C Black, London, U. of Pennsylvania Press Allen and Unwin (Aust). (11) Lightwood, A. (2000). Paperclay and other clay additives, Crowood Press, UK. (12) See over 200 images from the symposium at www.icshu.org/air/2004/pclay/paperclay.htm (13) Copy of Hay, G., (1999) Ancient Tribe Project. Australian Ceramics & Pottery, 1, (2) p. 52-56 at www.grahamhay.com.au/hay1999ancient.html provides a step-by-step lesson on how to do this. |
A complete copy of the article: Hay, G., (2007) The Paperclay Revolution, National Council on Education for the Ceramic Arts Journal, USA, vol: 28, 104-105. Reproduced with author's permission. This paper was presented at the NCECA (National Council on Education for the Ceramic Arts) 2007 conference, in Louisville, Kentucky, USA on March 15 2007.
