Two separate workshops taking together over the weekend before the Triennale. A wide range of studio tips and techniques will be covered including making custom paper clay, dry to dry joining; wet additions to dry; repairs to broken and fired paper clay; joining thicker pieces; levelling tops and bottoms; organic, inorganic and metal additions, speed and turbo casting.

Paper clay is now a third of all clay used in pottery and sculpture studios and classrooms in Western Australia, offering both an easier entry pathway for beginners, and increased creativity potential for experienced potters and sculptors.

Adding paper fibre to any clay transforms the medium, enabling both traditional and radical studio techniques, extending the potential of clay, fostering heightened experimenting by workshop participants.

One simplistic demonstration is at https://youtu.be/NvSeSGVEQUs

Workshops are predominately hands on, fun and information packed. Past participant review comments (both good and bad in order to encourage me to constantly improve): https://www.grahamhay.com.au/comments.html

Short demonstrations of techniques are given during the workshop to feed new techniques in, particularly for those who are more advanced in paper clay. For a large part of the workshop I provide individual instruction and assistance. Shorter, quick slideshows are given in the studio during the workshop to illustrate possibilities or in answer to any general questions that arise, but not compulsory so those who want to keep working on their own work can do so.

My experience is that the more experienced (with traditional clay) participants need more time working with dry paper clay to fully grasp the potential of paper clay. Similarly I have found that even those who are already using paper clay, for up to ten years, are still unaware of the full potential of the medium.

I have found that purely demonstration type paper clay workshops tend to cause serious information and excitement overload, plus it's challenging to cater to all levels with such a linear program. Short demonstrations of techniques are given during the workshop to feed new techniques in, particularly for those who are more advanced in paper clay. For a large part of the workshop I provide individual instruction and assistance. Shorter, quick slideshows are given in the studio during the workshop to illustrate possibilities or in answer to any general questions that arise, but not compulsory so those who want to keep working on their own work can do so. For short workshops (1-2 days) I demonstrate roughly every 1/2 hour (although some do feel overwhelmed (but in a nice way) from all the new information). For longer workshops (e.g. a week), new technique demonstrations can be every 2 hours.

For short hands-on workshops I spend a day in the venue preparing and drying materials for both myself and the workshop participants. Usually, I convert 1/2 bag paper clay per participant into various shapes and dry these before the workshop. This is so we don't spend an hour or so waiting for parts to dry/set. This is obviously different to traditional ceramic workshops, which predominately work with soft clay. My experience is that the more experienced (with traditional clay) participants need more time working with dry paper clay to fully grasp the potential of paper clay. Similarly I have found that even those who are already using paper clay, for up to ten years, are still unaware of the full potential of the medium.

Saturday 16 July Overview and introduction, hands on group exercises

A hands-on and information packed introduction to paper clay, a medium that has radically changed what can be done with clay. Any type of liquid clay can become a paper clay by adding processed cellulose fibre. Now made by most Australian and overseas clay manufactures, and many potters and artists customising their clay body. Nationally it makes up about a third of all clay used in studios and classrooms. Paper clay makes clay a lot easier for beginners as well as extends the studio vocabulary of experienced clay workers.

Sunday 17 July Master Class

A hands-on workshop that suits experienced clay workers and those have worked with paper clay. A quick recap and extension on simple paper clay techniques followed by a focus on more radical variations to traditional studio methods as well as less well know radical techniques that save resources, energy and time in the studio and classroom. With these will come greater creative freedom and expression than in traditional clay. There will be time for working on individual projects in the afternoon.

To bring

Kitchen or clay tools, a personal towel and box/s to take away your masterpieces and spare paper clay.

Your Tutor

A graduate from UWA, Edith Cowan and Curtin universities Graham Hay has led many fun, information packed hands on paper clay specific workshops, symposia and conferences across a dozen countries. List and reviews at https://www.grahamhay.com.au/workshops.html. Recognised as one of the pioneers in the movement, he has written many technical international journal articles. Grahams' work features in the major UK and US paper clay textbooks, the international survey exhibitions that toured these countries, and is in public collections in seven countries. Graham’s website https://grahamhay.com.au is packed with paper clay information. He is grounded by teaching community classes at Robertson Park Artists Studio, Boojoormelup / Robertson Park, Whajuk / Perth, WA.

2. Some of the topics and techniques covered

These include both variations of traditional ceramic practises, as well as methods borrowed from woodwork, metal work, leatherwork, paper making etc: These may include:

A) Making paper clay (percentages, paper and fibre types, types of clay, for fired and non-fired works) from local clay,

B) Joining, wet to dry, dry to dry (dip'stick), "pour’joins", combinations (eg dip’joins), unfired to fired, lattice vertical and upside down building

C) Wet, dry, and combination slip casting, "overcasting", "speed casting” and turbo-casting paper clay.

D) Additions: pasta and other food clays, foam-clay, wool-clay, glue-clay

E) Speed drying and firing aspects

F) Sculpturing and texture shortcuts, such as dry-balls, feathering, etc

G) Implications for traditional studio production and working methods.

H) The emerging aesthetics.

I) Customised slideshows of images selected from over 50 paper clay artists from around the world, to suit the interests and background of the workshop participants.