On Paperclay

From Rosette Gault's website on paper clay:
Unlike traditional ceramic, properly blended paperclay can expand and contract its shape in the air without fracture, has double green strength and other distinct properites before or after fire to temps of 1000C-1380C (or higher).
With the right ratio of cellulose fiber distributed uniformly through the clay the hollow celllulose fibers serve like cappilaries to wick and distribute water deep inside and outside the clay....expanding and contracting as it goes from dry to wet and vice versa.

Read more and see cool pictures here.

Here are some paperclay enthusiasts with lots of links.

Origins of American Animation.

Origins of American animation
1900-1921.
Philip Carli

1993
English Visual Material : Videorecording : VHS tape 1 videocassette (VHS) (84 min.) : sd., b&w ; 1/2 in. + 1 pamphlet ([4] p. ; 18 cm.)
[Washington, D.C.] : Library of Congress, ; ISBN: 1560984791
This collection, 21 complete films and two fragments, showcases the best of the Library of Congress's animated cartoons from the first decades of this century, an era full of surprises and experimentation.

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Title: Origins of American animation
1900-1921.
Author(s): Carli, Philip.
Publication: [Washington, D.C.] :; Library of Congress,
Year: 1993
Description: 1 videocassette (VHS) (84 min.) :; sd., b&w ;; 1/2 in. +; 1 pamphlet ([4] p. ; 18 cm.)
Language: English
Series: Library of Congress video collection ;; 3;
Standard No: ISBN: 1560984791
Abstract: This collection, 21 complete films and two fragments, showcases the best of the Library of Congress's animated cartoons from the first decades of this century, an era full of surprises and experimentation.
Contents: The enchanted drawing -- Fun in a bakery shop -- Humorous phases of funny faces -- Keeping up with the Joneses (women's styles) -- Keeping up with the Joneses (men's styles) -- Dreamy dud: "He resolves not to smoke" -- Bobby bumps starts a lodge -- Krazy Kat goes a-wooing -- Krazy Kat - bugologist -- Krazy Kat and Ignatz mouse at the circus -- The phable of a busted romance -- The phable of a phat woman -- Never again! "The story of a speeder cop" -- Mr. Nobady Holme: "He buys a jitney" -- Mary and Gretel -- The dinosaur and the missing link: a prehistoric tragedy -- W.S.S. Thriftettes -- AWAL; or, All wrong old laddiebuck -- The Katzenjammer kids: "policy and pie" -- Fragment from Gertie on tour -- Fragment from The centaurs -- Tony Sarg's almanac: "The first circus"
SUBJECT(S)
Descriptor: Feature films.
Silent films.
System Info: VHS format.
Note(s): Rare silent films with new piano scores./ At the head: The Library of Congress and Smithsonian Video present ...
Class Descriptors: LC: PN1997; Dewey: 791.4375
Responsibility: Piano score composed and performed by Philip Carli.
Material Type: Government publication (gpb); National government publication (ngp); Videorecording (vid); Videocassette (vca); VHS tape (vhs)
Document Type: Visual Material
Entry: 19940802
Update: 20030505
Accession No: OCLC: 30862185
Database: WorldCat

Here's a DVD that may be the same thing.

unrelated things!

this is the STORKER PROJECT


it isnt ceramic work but there are some funny and interesting public placements of these tape sculptures (there are other categories at the top of the main page, as well)





"Obscura Object" a working camera obscura





SET 26 some functional letter forms (actually furniture for sale) but "installed" in homes and businesses.

David Ireland

Box of Angels, 1996, cast plaster figures, glass, and wood vitrine


David Ireland in collaboration with The Fabric Workshop and Museum, Dumb Ball, 1989. Concrete. Each: 4 inches diameter.


David Ireland, Angel-Go-Round, 1996, installation view from exhibition at Oakland Museum of California, 2003-04. Fiberglass and cast concrete figures, motor, and nyon belting. 22 x 25 feet diameter


Good Hope, 1990-1991, concrete, wire, copper, broom, painted wooden stool, 24 x 76.

David Ireland
"You can’t make art by making art" has been a guiding principle in the work of David Ireland, one of California's most important and critically acclaimed artists working in the challenging arena of conceptual and installation art. "Ideally my work has a visual presence that makes it seem like part of a usual, everyday situation," he says. "I like the feeling that nothing's been designed, that you can't tell where the art stops and starts."
An exhibition at the Mattress Factory in Pittsburgh

A Couple Random Wire Sculptures

John D. Richards
Muscle Man
22 x 12 x 8 inches


Suspended sculptures of animated dancers.
Michael Gard

Mika Negishi Laidlaw

Bridge.

Offering. 5" Inches tall- Stand 7"Wx 4.5D

Rest, 2005 slip-cast earthware 19 x 10 x 15 inches

Lullaby, 2004. slip-cast earthware & porcelain. 9 x 17 x 7 inches

Clay Talks

A few years ago the Northern Clay Center published a book of essays by 13 influential American ceramic artists called Clay Talks. I've picked out a couple artists to show you with links and little blurbs about their work from introductions to their essays. If you're curious to read what they have to say about their work let me know as I have the book in my studio.


Jack Earl
"Jack Earl's sculptures tell stories in clay, paint and words. They are stories often based on family, friends, and his immediate environment, then transposed into romantic and surreal vignettes. Whether simply depicting life around him or commenting on it, Earl approaches his work with distinctive wit and humor." Clay Talks, p. 99.

Arcana, Stoneware 1993.
Rudy Autio
"Part of the "new wave" in ceramic art of the 1950s, Autio was influenced by the gesture-and-action technique of the Abstract Expressionist painters. He also credits Matisse, Japanese printmaker Munakata, artist Hank Meloy and his own students as influences. Covering the forms of his large sculptural vessels with drawings of intertwining figures and animals, he creates a synthesis of strong line and expressive color." Clay Talks, p. 57


untitled vessel, 1993. porcelain, H: 6 1/4"
Ruth Duckworth
"Duchworth's interest in natural forms is reflected in both her small vessels and her large wall sculptures. The human figure, though abstracted, remains at the heart of her work. Of equal importance in her oeuvre is light. Many of her works are completely white, with translucent edges and shapes that are altered by the inclusion of light. It is those qualities, rather than color, that define her work and create complex dualities within each piece." Clay Talks, p. 43


"Two Women Walking", bronze, 75 1/2 x 31 1/2 x 31", 1992.
Stephen De Staebler
"In a medium in which process and form are inseperable, De Staebler developed a distinctive expressiveness. His best-known early works are monumental torsos and totemic figures, sculpted initially in clay and later translated into bronze. More recent works are fragmentary figures on a smaller scale - assembled abstractions of the human form marked with evidence of the process of the creation. These powerfully attenuated body fragments strike a perceptual balance between suffering and transcendence." Clay Talks, p. 81


Untitled.
Karen Karnes
"[Karnes] focused on functional work until the late 1970s. Shifting to a larger scale, she began creating wheel-thrown sculptural pots evocative of natural and human forms. All of her work exhibits the rich textures characteristic of wood firing . ." Clay Talks, p. 19

Ceramics and Still Life

Gwyn Hanssen Pigott


As In the Sink (I), 1990
Porcelain centerpiece
15 x 12 x 9 inches
Edition of 50
Arman

Clare Twomey

Consciousness/Conscience. Collaboration with Royal Crown Derby delivered to the Crafts Council as part of the exhibition Approach Content.




Heirloom
Mission Gallery Swansea September 2004
Site-specific installation. Porcelain.
Clare Twomey

Richard Slee and Kenneth Price

Richard Slee "Souvenirs, toys, the objects that are called commemorative in the pages of magazines, trophies: all these are the stuff of Slee's ceramic geography." - the artist

Slee mentions a major influence being this artist:



Kenneth Price Note: a lot of Price's work is finished with auto spray paint.