Grogzilla, Godzilla, Moxilla, etc

I found out about this high-grogged NON-paperclay called Grogzilla™ when I attended my first paperclay workshop with Graham Hay in Santa Clara at Clay Planet back in 2007. It is manufactured by Clay Planet and is rated to Cone 10.

What attracted me to this "traditional/regular" clay was its rough texture and the little bits of "white godzilla teeth." That was my first impression of the feldspar crystals that popped from its surface. (See close up shot below) It does look like little dinosaur teeth so I thought the name was quite appropriate.

This hand-pinched bowl was fired in Steve Davis' kazegama ash kiln at Aardvark. I applied a thin layer of flashing slip on the top 1/3 of the bowl. The rest of the bowl was left bare. You can see the ash glaze over the flashing slip as a slight grayish brown coating. At high temperatures in the kiln, the feldspar crystals in the clay break through the surface and melt into little white globules.

I enjoy this texture very much and have been using this clay in my "sandwich" technique. (See earlier post). Paperclay allows me to incorporate this "regular" clay into my paperclay sculptures.

Okay ... Let's try it again

If the first time you don't succeed, try again.

I'm sure we all do that in our ceramics, so here I am with this familiar form again. My new bowl is the one on the right side. The left one suffered collateral damage in the kiln when someone else's piece blew up and their shards fell inside my bowl (see earlier post).

This hand-pinched bowl shape has come to mean a lot to me. It is a very simple form, albeit a BIG one, made from one big ball of Black Mountain sculpture clay. It's 9" across at the rim, 11" across at its widest point and 7" high. This is still greenware, drying in my studio. This second bowl is even larger than my first one.

This is the story and inspiration behind this bowl.

In many South East Asian countries (Thailand, Laos, Cambodia, Vietnam, Malaysia) where there is a strong Buddhist influence, saffron-robed Buddhist monks would come out of their monastery everyday at sunrise with their begging bowls to receive alms from the public. In Thailand especially, you see people line up by the road side waiting for the monk's arrival. The monks accept whatever is given in total silence and with gratitude. In Buddhism, giving such alms (consisting of food, fruits, biscuits, or whatever one can offer) brings you good karma. For these monks, this is their only food collection of the day. Whatever is collected is taken back to the monastery and shared with everyone for their only meal of the day before noon.

This pinch bowl is my interpretation of the monk's begging bowl. Theirs is usually made of brass for durability. I want this form to be simple, yet convey a sense of quiet beauty and strength. It is big and has some heft to it. I want this to represent the heavy responsibility these monks have taken upon themselves in the service of others. I've chosen the Black Mountain sculpture clay to complement this feeling. No glaze is needed on the outside.

The beauty of Black Mountain

Black Mountain sculpture clay (from Aardvark) is one of my favorite "traditional/regular" clay. I like it for its texture, color and feel of it. Paperclay is my clay of choice and I use this Black Mountain clay when my sculpture calls for it. With paperclay, I can incorporate this "regular" clay using my "sandwich" technique (See earlier post). It gives a very nice contrast to the lighter colored clays (for example, southern ice porcelain paperclay) without the use of additional glazes.

I always let the clay dictate what kind of a rim the piece likes to have. I do not trim the rim at all. The natural way the rim develops in all of my pinch forms gives them their own uniqueness and personality. For me, this gives me a most satisfying feeling. The form becomes what it wants to be. I let it be and enjoy what it has become - naturally.

Size: 4.5" dia x 3.5"H. No glaze. Hi fire Cone 10 reduction. Black Mountain sculpture clay.

Collateral Damage

This is a picture of my hand pinched Black Mountain sculpture clay bowl that was involved in a "mini explosion" inside the glaze kiln. It was the largest pinch bowl I made so far; 9"Dia x 6.5"H. The shards from the exploded pot landed inside my bowl and fused with the glaze.

Part and parcel of the going ons in a community kiln. Most of the time my pieces come out fine out of the Cone 10 reduction firing.

To quote my instructor, Julia Klemek, "Don't fall in love with your piece until it comes out of the kiln."

I think this will make a great Ikebana flower bowl!

Paperclay Sandwich

© 2009 Anthony Foo

The thing with commercially prepared paperclay is that you do not get the variety of clay bodies available as you do in traditional clays. My local distributor, Aardvark Clay Company carries the sculpture and throwing paperclay made by IMCO in Sacramento. Laguna Clay Company in Los Angeles recently started carrying their own version of Bmix + sand paperclay. Laguna Clay Company in Florida has a wider selection of paperclay (from low to high fire) but they do not ship to California.

As paperclay artists, unless you get into making your own paperclay, you are limited to what is commercially available.

In the past couple of years, I've started using the color and texture of the available clay as my color palette. That way, I don't have to deal with the issues of high fire glazes.

So .... how do I get these ordinary clay into my paperclay sculpture. My "Earthship" series employs a technique which I call "sandwiching." I don't know what is the proper name for it, but it's something I came up with because that is exactly what you do.

With the help of paperclay slip/slurry, I attach regular/ordinary clay onto my bone dry paperclay foundation. In this example, it is the "hull" of my "Earthship" series.

"Earthship 2"  and  "Earthship 3" has Grogzilla clay lumps stuck onto the ENTIRE outside of the piece. This Grogzilla clay has a high grog content with feldspar crystals in it. On high fire, the feldspar crystals "pop" and you get random pearl-like droplets (for lack of a better description). Sometimes they look like little white teeth. Maybe hence the name "Grogzilla." I really like this clay for its texture. The "Grogzilla" clay is available from Clay Planet, Santa Clara, CA.

The paperclay slip did not have any trouble holding on to the Grogzilla clay at all, although there was some surface cracking along the edges. I used more paperclay slip to cover up/seal the cracks as best I can. On both pieces, I used a Red Iron Oxide wash as a colorant. No glazes were used, with the exception of some flashing slip. Both pieces were fired to Cone 10 reduction and the sandwich technique performed and held up beautifully.

I have used this technique on either side of my pieces. In "Last Boat Out", I used Black Mountain sculpture clay on the inside of the hull. The outside rough texture was done with wet paperclay to dry technique.  I kept adding the wet paperclay to the dry foundation until I was satisfied with the thickness and shape/profile of the piece. Again, this was fired to Cone 10 reduction.

This "sandwich" technique will allow you to introduce readily available clay onto your paperclay structure.

Hopefully, you will find this discussion an inspiration to your own projects.