THOUGHTS
ON CLAY
AND CLAY SUBSTITUTES
By:
Kit Cornell
CLAY
The clay that forms the crust of our planet is what I use
in my work as a potter and educator. Clay is the result of
the weathering of rock over thousands, even millions of years. I either harvest it myself or have a blend of natural clays
mixed by a clay supplier delivered to my studio . In my career
as a potter, I have used earthenware, stoneware and porcelain
(more varieties of each than I can count). I love clay! It's
a natural material, easy to form, and smells sweetly of the
earth. Dug oneself, it's a free gift of nature, and even if
you buy it, it ought not cost more than pennies a pound. Iron-rich
earthenware clays are abundant. Most clays dug in New Hampshire
are grey or green in their raw state, and fire to a rich,
deep red, sometimes with a flecking of mica or other minerals. Com-mercial earthenwares are available which may be white,
beige, brown or red.
If handled with care, clay is an excellent
material for artistic expression and appropriate for school
use at every level. It is remarkably easy to get a student's
attention if you hand them a lump of clay. . . their fingers
begin to explore, their imagination kicks in and they are
off on a creative journey. In terms of safety, clay contains
silica and other toxic substances which are hazardous primarily
by inhaling the dust. Whenever possible, use already-mixed
moist clay, keep it damp while in use, wipe tables with a
wet sponge, keep floors clean by wet-mopping regularly, and
avoid sanding pieces in an enclosed area.
Glazes are mixtures of minerals that melt at a certain temperature. They may be used to coat clay pieces. Remember, using glaze is optional. All earthenware clays can be glazed--a variety of underglazes and
glazes are available, as well as clear glazes-- that will seal the
piece for functional use. Only no-lead glazes should be used, and
safety information should be requested and read carefully. As with
clay, one should avoid creating dust from dried glaze.
The hurdle of hardening (firing) clay
pieces is far from insurmountable. Many New Hampshire schools now
have kilns. If you don't have a kiln of your own, there may be a
school, an art center, or a local potter you can work with in a
mutually productive way. No matter what kiln you use, remember that
it must be vented to the outside. Firing clay releases toxic fumes
that must not be inhaled.
Increasingly, I have become aware of plastic substitutes for
clay, neatly packaged brownie-sized or larger rectangles of
an easily moldable clay-like material in the most brilliant
colors one can imagine. Some labels state, "Better than
Clay" and indicate a home oven is all that's needed to
immortalize any resulting creation. The cost for a two-ounce
package is about $1. 00 per ounce (or $16. 00 per pound). When
compared with clay, the cost of these plastic substitutes
is high, but the selling points of these substitutes are its
ease of hardening (no kiln required, a toaster oven will do)
and that the brilliant colors require no glaze materials. I have found that these clay substitutes are not as responsive
to touch like clay, but they do not dry out as much as clay
in use.
Because I'm always interested in learning more, I recently spoke
with some knowledgeable people about these plastic polymer clay
substitutes. Here's some of what I've learned.
Polymer Clay is not clay, but a
vinyl chloride plastic. It's a polymer product created by the petroleum
industry; it's made from oil. If you have a concern with the amount
of oil we import and the problems created thereby, then using natural
clay may be preferable to using Polymer Clay.
In order to make vinyl chloride plastic malleable, additives are
included in their formulation. The effects of these additives when
inhaled or absorbed through the skin is uncertain. Among these additives
are phthalates, suspected by many to cause developmental and/or
reproductive problems. For additional information, please refer
to an excellent book by Colborn/Myers/Dumanoski, titled Our Stolen
Future. The phthalate DEHP has been removed from several polymer
products because it was listed as an animal carcinogen. It has been
replaced by other phthalates which have not yet been fully tested
for cancer, developmental and/or potential reproductive effects.
Some clay substitutes display warning
information on the wrapper, and it is always wise to read the fine
print. Cautions relating to the hardening of these materials in
toaster oven or regular oven bear special consideration, as toxic
fumes are a real hazard. Most polymer clay substitutes prominently
display the nontoxic label from the Art and Craft Materials Institute
(ACMI). The ACMI, as I understand it, is comprised of manufacturers
of arts and craft products. This association hires toxicologists
to evaluate products, and if a product passes, it may be stamped
and sold to consumers bearing the ACMI's non-toxic label. This label
means that users will not be exposed to significant amounts of known
chronically toxic ingredients. All art materials have a Materials
Safety Data Sheet (MSDS), which is available from the manufacturer. It is valuable to request this information from the manufacturer
in order to learn about the products ingredients and potential hazards.
Monona Rossol, of the Arts, Crafts
and Theatre Safety (ACTS), an organization which monitors products
and works to make citizens aware of potential problems, cautions,
"Don't believe everything you read: Educate and Protect Yourself.
" I couldn't have said it better!'' -Kit-
North
Country
Studio Conference '03
By
Ron Tornow
Arnie Zimmerman
led the workshop I attended titled Mining Inspiration. My
attendance was assured by a Scholarship award from and Potters
Guild and the NCSC the latter's first. Arnie's
credentials and creative contribution to the clay community
have been impressive over the last 3 decades. He has evolved
as an artist from producing 30 monumental forms in the 80's
to a smaller scale of work at present. Yet larger then
average to many in the workshop.
We were encouraged to bring some object or photos
of work that inspired us. Arnie provided a technique that
could be employed to construct the form. His technique
starts with rolling clay and (as many do to make a long spout
) sliding a rod through the roll to create a tube. A base
is then made similar to the slab and wall construction of a
house. The tubes attached to the base (assembled in monkey
bar or triangular pattern) form a strong structure not too distant
from the strength the Geodesic Principle provides. This
system offers the advantage of working large without the difficulty
of working with a heavy mass of clay ,as well as, the ability
to curve or arch the sculpture. The technique was easily
employed under Arnie's watchful eye and large forms began to
emerge. Most of the 11 students were able to produce multiple
sculptures in a relatively short period of time. Arnie
commented on the high degree of professionalism shown by the
group.
Some were advised to abandon the technique if it
didn't work well with there objectives. I never employed
the technique but have it as a tool should I need it in the
future. At the time I applied for the scholarships I had
a mind set that I would use this opportunity to break from the
past and experiment with a subject and technique that I have
not experienced. My inspiration to be mined into a body
of work would be figurative. The technique I would employ
would be slab constructed cylinders that I could push the clay
out from the inside and in from the outside to make my nude
relief forms.
Since I thought Arnie might consider me unresponsive
not to follow his instructions. I didn't feel comfortable
as I held my breath and started my slab cylinders. When
Arnie made his appearance at my table I explained myself. I
found he had a lot besides tubes to offer. The first piece
I made was about 12 h. x 6w. Arnie suggested I make 9
more. I lost some time rolling slabs but had ten done
and ready for comment on Saturday morning, a day and a half
after I started. To my surprise not only does Arnie
believe in the benefits of working in series but also working
larger. Now he asked me to make 5 , 21 h. forms with a
1" slab.
I new I had to use the slab roller in the throwing
room next door now. So with some disruption to that class
I began to go through 150 lbs of clay to make 3 units. Lifting
35 lbs of clay and placing it on a base was challenging and
without years of slab handling I would have needed help. Fortunately,
we had Miller K-6 a soft clay that is also favored by those
unable to throw the denser clays anymore. K-6 yielded
easily to my push and press technique. Before noon I had
3 units done and asked Arnie if I should continue to work on
those. Not to my surprise he wanted me to buy more clay
and make more. I was able to complete the 4th prior to
the end of the session.
At my critique on Sunday morning Arnie suggested I
work even larger benefiting from the greater amount of energy
that would be infused into the forms when I moved to a smaller
size.
This was my second NCSC, the first with Bill Daley, which
also involved large form construction. As in the first
NCSC I returned with a wealth of knowledge and the satisfaction
of having made a successful start towards producing a new body
of work. I can highly recommend the 4 day conference not
only for the individual workshops but the exposure to the other
media (12 in all) and craftsmen in an intensive creative atmosphere. The support I received from the PG and NCSC assured that
I would get a new start in clay and they have my grateful appreciation.
ART
on TV
By:
Robin E. McGregor
I've
been starved for art on TV, 3-D art, things that appeal to my
inner potter. Until recently, the only thing I found with any
kind of consistency, (in my humble opinion) is Modern Masters,
a ½ hour show which airs once a week on HGTV. Modern
Masters features three artists from around the country during
each episode. Each featured artist, be it blacksmith, woodworker,
plastercaster or potter shares his/her method for bringing their
medium to life. I have been lucky enough to catch some episodes
which have featured clay artists. If you're interested in seeing
when Modern Masters is on in your area, just log onto: www.HGTV.com.
While
clicking through an endless amount of cable channels one night,
I caught two episodes of Egg the Arts Show on PBS. Wow! For
the first time since my youngest daughter was a toddler, I have
found something/anything that interested me on PBS.
The first
episode was called "The Desert" with three segments
about different artsy-type things that go on there. The first
segment was about Marfa, Texas, where in 1979, minimalist sculptor
Donald Judd (1929-1994) left the confines of New York City for
the open spaces and wide vistas of the desert. An abandoned
army base outside of Marfa, Texas (called the Chinati Foundation
today), proved to be the ideal venue for his work. The views
depicted were tremendous, but the art was nothing that excited
me, but nonetheless, it was art!
The second segment was Viva Las Vegas! Vegas is the city I personally
love to hate, because it's the only place my hubby and I battle
over whenever we travel west. He must go there and I dread it
every single time! Now, it seems I have a reason to go along
with him with a little less of a fight - great museums in some
of the biggest hotels! One hotel is even opening a Guggenheim!
Finally,
every year, 30,000 people make a pilgrimage to take part in
a week-long event known as Burning Man. People bring along their
3-D art which they display, wear, construct, drive or what-have-you,
all in celebration of art! For that one-week out of each year,
Burning Man is the 3rd largest city in Nevada.
Jerry Stiller and Anne Meara hosted the second episode. The
hosting I could have done without, as much as I have always
loved that comedic couple. The parts with them were just plain
corny!
At any
rate, the first segment was about Gary Greff - "Build It
And They Will Come." That's the not-so-old movie slogan
(from Field of Dreams, starring Kevin Costner) that Gary Greff
lives by. A schoolteacher turned metal sculptor, Greff is trying
to save his hometown of Regent, North Dakota (population - 268
people) by building a folk-art tourist attraction called the
Enchanted Highway. On a stretch of Interstate 94 near Regent,
Greff has built enormous metal sculptures in an effort to get
people to stop and take notice. All of his creations are wonderful
and he has even gotten one into The Guinness Book of World Records
as the world's largest sculpture!
Next up was Harmony College, featuring the time-honored art
of the Barbershop Quartet. This art remains alive thanks to
the efforts of S.P.E.B.S.Q.S.A.-- the Society for the Preservation
and Encouragement of Barbershop Quartet Singing in America.
Each year the Society sponsors a workshop for barbershop quartetists;
young, old, beginners, and professionals alike are welcome.
I learned a lot about this art form from watching this episode.
The final
segment was The Sid Saga-Sid Laverents. Beginning in the 1920's,
amateur movie clubs were common in communities all across America.
Neighbors would gather around a projector and swap their latest
reels. Sid Laverents, a one-time vaudeville performer, has been
an active amateur movie-maker for over half a century. This
segment was a movie Sid made chronicling his life, and included
snippets from some of the movies he has made over the years.
Sid is now the president of the San Diego Amateur Movie Club.
Those of you going to NCECA in March would do well in finding
out if there is a place to view some of his work. He's just
awesome!!
So potters
without satellite dishes or even cable take heart, there is
hope on TV…just go to www.pbs.org and see when Egg the
Arts Show is on.
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