Winter/Spring 2019 | Vol 47 No 1

PRINTING AND PAPER CLAY

PRINTING

1 | studio potter Mission Centered in studio practice, Studio Potter promotes discus- sion of technology, criticism, aesthetics, and history within the ceramics community. We

are a non-profit organization celebrating over forty years of commitment to publishing the Studio Potter journal. We welcome hearing from potters, artists, scholars, educators, and others with special interests in writing and reporting on topics and events that matter in their Studio Potter | Studio Porcelain paper clay, glaze. Photograph by Guy Nicol. glaze. paper clay, Porcelain Blue Vein #8 , 2018. 15 x 8 in. Shiyuan Xu. Blue Vein personal and professional lives. 1 VOL 47 NO 1 PRINTING & PAPER CLAY

In this Issue PRINTING Letter from Guest Editor The Architecture of Borderlands 04 | BRYAN CZIBESZ 22 | A CONVERSATION WITH RONALD RAEL A Perspective on Computers & Clay Ephemeral Materal 06 | BY RICHARD BURKETT 32 | BY STACY JO SCOTT

Code & the Crafts What Do You Want to Be, Clay? | BY WENDY GERS WITH 10 39 | BY TOM LAUERMAN FRANÇOIS BRUMENT AND SONIA LAUGIER X > CTRL + P Potting in a Digital Age 43 | AN INTERVEW WITH UNFOLD 16 | BY JONATHON KEEP REMEMBERING

When I am working in my studio, I think about the use a pot will be put to in someone's home ... through time, we ourselves change, and thus we change the emphasis of the pot.

Barbro Aberg. More Secrets, 2018. 19x24x5 in. Clay with perlite and paper fibers, terra Ronald Rael. Cabin of sigillata, stains, oxides. Photo 3D-Printed Curiosities 66 by Lars Henrik Mardahl. 22 (interior), 2018.

PAPER CLAY 72 WARREN Letter from Paper Clay & 3D Printing 51 | Guest Editor 60| BY SANVER ÖZGÜVEN MACKENZIE LORIE NELSON | Wired into Paper Clay MacKenzie | Interviews with Three 62 BY GRAHAM HAY photographed 52 Paper Clay Artists: by Gerry REBECCA HUTCHINSON Paper Clay Illuminated: Williams, JERRY BENNETT | ROSETTE GAULT 66 Journey to an Exhibition 1990. BY LORIE NELSON Beginning Your 57 | Exploration of Fiber Clay BY JERRY BENNETT PAPERCLAY WORD s a co-editor of this issue of Studio FROM Potter, I’m pleased to present several THE perspectives on digital technology EDITOR in ceramics, including many that studiopotter.org A concentrate on extrusion-based 3-D printing with clay. The DIY and open-source roots of these EDITOR EXECUTIVE DIRECTOR processes are something that I have been inter- Elenor Wilson Anthony Stellaccio [email protected] [email protected] ested in since 2013, when I built my first clay 3-D

GUEST CO-EDITORS BOARD OF DIRECTORS printer from scratch. I was able to do so largely Bryan Czibesz Destiny Barletta because of the dissemination of open-source Lorie Nelson Hayne Bayless Ben Eberle information by a growing online DIY 3-D printing ART DIRECTOR Bonnie D. Hellman, CPA community. This phenomenon is reassuringly Zoe Pappenheimer Jonathan Kaplan zoedesignworks.com Robbie Lobell congruent with the ethics of clay culture and David McBeth CIRCULATION Jonathon McMillan craft traditions, even while digital processes are a Jessica Detweiler disruption to direct, analog ways of hand-working. [email protected] ADVISORY COUNCIL Louise Allison Cort Developing this issue has prompted me to COPYEDITOR Leslie Ferrin Faye Wolfe Gary Hatcher consider the implications of what it means to Tiffany Hilton print in clay. While the word printing may invoke PROOFREADERS Mark Shapiro Hayne Bayless exclusively digital 3-D printing processes to Mary Barringer FOUNDING EDITOR some, printing is in fact intrinsic to working Gerry Williams PRINTING in clay. Simply put, to handle clay is printing Penmor Lithographers EDITOR EMERITA PO Box 2003 Mary Barringer in its truest sense—to press it through various Lewiston, ME 04241-2003 marks and movement: pinch, roll, compress, INTERN INDEXING Gregory Lastrapes carve, coil, throw, stamp, screen, stencil, and Studio Potter is indexed by Ebsco Art and Architecture Index (ebscohost.com), and PUBLISHING so on; at times, employing mechanized tools. distributed to Libraries digitally through PO Box 1365 Clay is responsive to so many ways of work- Flipster (flipster.ebsco.com). Northampton, MA 01061 413.585.5998 ing, and it has an uncanny ability to reflect the present moment, from recording finger- prints to documenting contemporary culture. Shifts in contemporary culture, including the prevalence of digital data and information, can be disorienting and difficult to situate within our analog selves, particularly when the volume

Volume 47, Number 1, ISSN 0091-6641. Copyright 2019 by Studio Potter. of data becomes incomprehensible without the Contents may not be reproduced without permission from Studio Potter. aid of computers. Should artwork reflect both Studio Potter is published semi-annually as the Winter/Spring issue and the Summer/Fall issue. For permissions, corrections, or information about tradition and our time and place? The contri- digital versions of back issues and articles, please contact the editor. butions in this issue by Jonathan Keep and Tom

Studio Potter Studio Lauerman ask, “Why not implicate clay in this The views and opinions expressed in the articles of Studio Potter journal are those of the authors and do not necessarily reflect the views or opin- 4 | ions of the editor, the board of directors, or the Studio Potter organization. endemic to extrusion clay 3-Dprinting.endemic toextrusion and thestrata, loops, andwoventextures triangular facetsof3-Ddigitalresolution extent, evidencedbytheubiquity ofthe seems thatthishasyet tohappena large adopted digitalfabricationtools.artists It aesthetic wouldperhapschangeasmore what hasbecomeaconspicuouslydigital ing it,asStacyJo Scott writesinthisissue. material form,grounding itandhumaniz- in clay forces digitalephemera to existin additive ones, suchas3-Dprinters. Output (Computer Numeric Control) millsto tools, from machinessuchasCNC carving ologies withoutputtoarange ofdifferent tion ofdigitaldesignandmodelingmethod- often meansdigitalfabrication,anintegra- emergence ofmodelingandimaging. tion, documentationandsharing, andthe glazes, imagesourcing andmanipula- ing, buteventuallyincludedcalculating with simplysharingrecipes andconvers- computer usageforceramists began has changedshapeovertime. Common Burkett reflects onhowthequestion 20, Number 2,1992. In this2019issue, Burkett’s inStudioPotter article Volume studio practice; forexample, Richard what placecomputershave inceramic potential ofcodeandcomputation. between direct manipulationand the be aperfectreflection oftheboundary ticity offormandoutcome, clay might its fundamentalmutability andplas- moment?”Considering contemporary Many earlyadoptershave positedthat Now theuseofcomputersinceramics For decades, peoplehave beenasking manufacturing todemocratize andfacil tion andthedecreasing costofglobal RepRap leveraged Internet dissemina- patentsexpired, As extrusion-printing (seereprap.org).by makingakitofitself” turing machine,” onethat“self-replicates general-purpose self-replicating manufac- project was conceivedas“humanity’s first 1990s. In 2005, theopen-source RepRap 3-D printerswere commercialized bythe early 1980s;andtheplasticextrusion 1950s; 3-Dprintingdatesatleasttothe CNC machineswere inusebythelate aesthetic thatisderivedfrom newtools. desired precisely becausetheyexpress anew tooling and3-Dprintingstrata mightbe Like throwing marks, theevidenceofCNC wheel oftencompelsusnottoalterthem. tional throwing marksonpotsviathe unwanted. Capturing thebeauty ofrota- as atrend thatcanbehard toshake. it becomeswidelyimitatedandadopted soon asonekindofaestheticdevelops, As Unfold here, notesintheirarticle as tion, suchaswikifactory.com. Countless grounded infreely sharingthisinforma - are nowvibrant onlinecommunities Verbruggen ofUnfold andKeep, there ware store. BecauseofpioneersDries ordered online, from andparts ahard - that required onlyhandtools, parts Jonathan Keep developedaDIYversion clay.nized syringetoextrude Soonafter, open-source 3-D printerswithamecha- itate adesktop3-Dprintingrevolution. These “new” toolsare notallthatnew: But thismightnotbeanything newor By 2009, StudioUnfold hadadapted - each other—borderlands withoutwalls. intersect, overlap, inform,andengage potential, where languagesandideas mixing, culturally rich,andladenwith are complexplaces ofsharingand places rather than negativeones. They is besttoconsiderborders aspositive withhimforthisissue,my interview it of themoment.AsRon Raelstatesin cross them.” This mightbeemblematic dynamic whenpeopleare determinedto the unknown,buttheyare attheirmost movement orprovide protection from and borders have thecapacity toconstrict Potter, Martina Lantinwrote “Boundaries the multiplicity ofhumanexperience.” “opens upotheravenues ofexamining section that,asScott statesinherarticle, material science, andcraft, art, aninter of disciplines, suchasengineering, design, machine. It increasingly engagesarange ofhandversus construct outmoded binary technology hasrichpotentialbeyond the high-quality, commercial, clay printers. and WASP, have successfullymarketed small companies, suchasPotterbot, Lutum, add totheseresources, andanumberof andinventors artists have continued to Bryan Czibesz Bryan Guest Co-Editor In theSummer/Fall 2017issueofStudio The definedbyclay anddigital territory

- Instagram: @zibes bryanczibesz.com York atNewPaltz. State UniversityofNew Art inCeramicsatthe Associate Professorof making. Heiscurrently material, andobject between technology, in therelationships and educatorinterested Bryan Czibeszisanartist BIO PRINTING

5 | Studio Potter 6 PRINTING | Studio Potter I University majoring in physics, I learned more more University majoringinphysics, Ilearned attimes.memory wrote simpleprograms thatusedupallthe your smartwatch. It usedpunchcards, andwe one, than anIBM1620withfarlessmemory idle. That’s the DePauw computer; theyonlyhad

A coupleofyears later, whenIwas atLawrence University computer atnightwhen it was and IgotpermissiontousetheDePauw early.t started In 1968orsomy bestfriend

TIMELINE 1968 COMPUTERS &CLAY was working withclay, makingobjectswith creating, butIfoundthatwhatlovedmost a potter. I’d always enjoyed making, tinkering, clay through asummerjobmakingashtrays for I fellinlovewiththewonderfulplasticity of logic ofhowprogramming works. ing exciting, butintheprocess Ilearnedthe IBM 360. Iwas solvingphysics equations, noth- Fortran onateletype terminalconnectedtoan In 1970, aftermy freshman year ofphysics, BY RICHARDBURKETT A PERSPECTIVEON

the IBM1620. experience with on computer their firsthands- students had Many university IBM 1620 1988 Indiana University Bloomington. potter before headingtograduate schoolat life. Ispenttenyears asasalt-glazing studio Crafts. After college, Ihadnocomputersinmy conference atArrowmont SchoolofArts and on EducationfortheCeramic Arts (NCECA) for salt-glazing, atthe1972National Council from physics andceramics. toart Then Ifell my hands, firingkilns. Iswitched my major Fast-forward almosttwenty years from the educationalglaze Burkett's first iteration of HYPERGLAZE calculation software, written oxn aMacPlus using HyperCard.

in the Art Department, Ibeganenvisioningin theArt Department, teach in1989, andhaving thefirstcomputer ing andre-writing forthelastthirty years. glaze calculationsoftware thatI’vebeen writ ing versionofHyperGlaze, theeducational butwork crude had developedthefirstvery with theupdatedcomputer. In fourdays I use, English-basedprogramming language) got my firstcopyof HyperCard (aneasy-to- offered anupgrade toaMac Plusin1988, I from 400-kilobytefloppydisks. When Apple that tookeasilytwenty minutesjusttoload calculation spreadsheet inMicrosoft Works substitutions forit,Iwrote asimpleglaze becoming unavailable, andwanting tomake Madison. Around thattimeAlbany Slip was ing ceramics attheUniversity ofWisconsin computer, aMacintosh 512,whileteach- the IBM1620:Ipurchase my firsthome 1992 StateUniversityI movedtoSanDiego to - -

one ofitsfirstusers. be co-ownedbyBurkett, discussion forum,soonto the firstonlineceramics Joe Molinarodevelops CLAYART LISTSERV

John Berners-Lee, anEnglishengineerand email from Tim Berners-Lee(SirTimothy CeramicsWeb. Istillremember getting an websites, theCeramics Gopherbecame the invention ofhypertext andHTML-based text-based educationalinformation.After today’s standards, withfewphotos—mostly servers. The formatwas quiteprimitive by one ofthefirstpre-web ceramics information long after, Icreated theCeramics Gopher, invited tobetheListserv’s co-owner. Not least asavehiclefordiscussion. more commoninceramics studiopractice, at the firststepstoward makingcomputer use wasopened tothepublic.The oneof Listserv group) around 1992, rightaftertheInternet (theoriginofthatchat ClayArt Listserv ing withclay. Joe Molinaro the hadstarted using digitaldesign,including3-Dmodel As oneofthefirstpeopletosignon,I was 1993 - clay printer, inspired bydigital3-Dprinters 1990s, Herrold toworkona was starting on aMacintosh Plusin1986. Later, inthe relatively primitive3-Dmodelingsoftware created aframe-by-frame animationusing at DePauw University, whopainstakingly clay community, thelateDavid Herrold been inspired friend byalongtime inthe becoming more available. EarlyonIhad again byhandinatexteditor. Internet. IcodedthewholethinginHTML, clay show, juriedfrom photossentoverthe Exhibit in1993, thefirstpurely virtual and Ialsoorganized theVirtual Ceramics hand inHTML inatexteditor. Joe Molinaro I programmed theoriginal CeramicsWeb by new inventions, HTML andtheweb browser. the World Wide Web) talkingabouthisgreat computer scientist credited as the inventor of By then,computer-assisted designwas the Internet. from photossentvia clay exhibition,juried organize thefirstvirtual Molinaro andBurkett CERAMICS EXHIBIT VIRTUAL PRINTING 7 | Studio Potter 8 instagram: @richardburkett hyperglaze.com richardburkett.com thirdpottery.com [email protected] pots inSanDiego. Nan Coffin liveandmake Amazon. He andhiswife from theEcuadorian Figures &Mucawas:Ceramics Handbook, andMythical of Ceramics: APotter’s ware, andco-author author ofHyperGlaze soft- State University. He’s the itus professoratSanDiego Richard Burkett isanemer- BIO PRINTING | Studio Potter

ware, Strata 3-D, andlooked intothe got my firstserious3-Dmodelingsoft At somepointinthemid-nineties, I dies forthingssuchasgearextrusions. templates andextruder for hand-cutting for many years tocreate 2-Dpatterns sculptural clay forms. to“print”extruder complex,curving a photoenlarger stand,andahand ratchets, offsetsliders, ahairdryer, which brilliantlyusedcams, saw-blade the completelyanalogSlipJet Printer, an entirely manualworkingversion, digital device. By about2001he’d built programming andhardware—tobuilda didn’t have thetechnologicalsupport— printer, butwithclay. Unfortunately, he idea ofusingthestructure ofaninkjet he’d seeninEngland.He envisioned the 1996 I have useddigitaldrawing software - manufacturers’ demoswas anearly came toSanDiego, andamongthe more inexpensiveandaccessible. and digital3-Dprintingisgetting much inmanypopular withartists disciplines, modeling. Rhino isapowerful tool I nowuseRhino software fordigital ceramics thatwas inuseEurope. industrial 3-Ddesignsoftware for I saw demonstrations ofamazing conference inHelsinki, Finland, where at theNetworks inCeramics ’96 extremely expensive. (wax, plaster, orpaper, atthetime)were the machinestodothatinany material stereolithography), buttheprintingand created digitally(thengenerally called possibilities ofprintingformsthatI In 2003, theNCECAconference In 1996, Iwas thekeynote speaker ceramics design. Rhino3D) inusefor (abbreviated Rhinoor to Rhinocerossoftware Burkett isintroduced At aconferenceinHelsinki, RHINO

don’t useasmuchIthoughtwould. wonderful thingbutstillsomethingI and metal. 3-D printinginplastics, wax, plaster, and waterjet cutting, CNC milling, and addition toclay printing, includinglaser for producing objectsinmany mediain digitally drivenfabricationequipment Most schools nowhave awiderange of fabrication (DigiFab) isnowathing. due totherelatively highcost.Digital although hapticmodelingisnot,perhaps common, printing isbecomingvery intrigued. Fifteen years later, clay digital modelingprocess. Iwas very and feelwas finallyintroduced tothe modeling hardware: Asenseoftouch modeling software thatincludedhaptic plaster printerdrivenbydigital3-D 2001 3-D modelingisanamazingly in the1990s. printers he’d seen inEngland who wasinspiredby3-D Printer builtbyDavidHerrold, A completelyanalogSlipJet ANALOG PRINTER 3-D of digitalclay fabricationismakingclay one ofDigiFab’s greatest possibilities. tional clay-working techniquesiscertainly of objectsthatcan’t bemadeusingtradi- devices andthelike. The rapid visualization lation improves through hapticmodeling most importantly, trans- thehand-to-form tools suchas3-Dviewers andglasses; humans andcomputersimproves through software getsbetter; theinterfacebetween overly technical,andslowas3-Dmodeling happen withdigitalfabrication. altering, allwithanimmediacythatdoesn’t bad—forming,and distorting, does—good Feeling theclay move, discoveringwhatit clay withmy hands—Ilovethatpart. with theincredible directness ofmoving Why? Ithinkonemajorreason hastodo Important toamore widespread use DigiFab may come toseemlessawkward,

ways humanize, sterile, whatcanbeavery from theprintingthatsoften,andinsome (often intentionallyintroduced) arising clay printingareof contemporary “errors” current direction technologyandartistic rollers, kilns, burners, extruders, andmore. of uswere buildingourownwheels, slab in themid-twentieth century, whenmany exploration. It’s abitlike theceramics field the possibility oflotsinnovation and ways; notabadthing, andonethatoffers still intheDIYera ofclay printersinmany with more accurate results overall. We’re thicknesses, simultaneouscolorsofclay, and offersawiderrange ofobjectsizes, wall computer modelingandtheactualprinting, that improves thetranslation between the are already buildingaffordable equipment printing equipmenteasiertouse. Companies One of the things that I love about the One ofthethingsthatIloveabout 2014 innovation, whilerespecting thepast. art andbyallmeansembrace changeand to witness. My advice istobefearlessabout frightening both wonderfulandlikely very materialize infront ofyou would(will!)be be abletothinkofaformandseeitinstantly involved, andmind.To alongwiththeheart years. Icanonlyhope thatthehandisstill us inanotherseventy-five toonehundred increasingly robotic age. machine coexistenceaswe moveintoan consider themany questionsofhuman/ powerfully stimulatetheviewer/user to made byhand.These chimericobjectscan with thecompellingqualitiesofwork the precision ofdigitallydrivenclay printing processes tocreate objects thatsynthesize most brilliantworkI’veseenusesdigital cold, mechanicalprocess. Someofthe I wouldlovetoseewhere technologytakes 2014 version. modeling hardware. At left, a modeling softwarewithhaptic a manufacturershowed3-D At the2003NCECA conference, HAPTIC MODELING PRINTING 9 | Studio Potter 10 PRINTING | Studio Potter code Ceramic Experiments  François Brument & Sonia Laugier’s Sonia Laugier BY WENDY GERS Sunderland, England. from Universityof Gers earnedherPhD ceramic art.In2018, books andcatalogson and authoredseveral tional guestlectures, numerous interna- who hasdelivered award-winning curator Wendy Gersisan &

F the realms ofcrafts and digital technology. communities and to connect and innovate within innovative makerspace seeks to reach out to local and his current project, Les Arts Codés. This perception ofcontemporary designeducation, discussion focuses onBrument’s background, his Brument and Laugier’s three TCB projects. The in Paris is paired withbriefdescriptions of The following 2016interview withBrument upon the pioneering nature ofthese works. of ceramics. Five years later, itis worth reflecting focus onnascent digital technologies inthe field (TCB), projects for the 2014Taiwan Ceramics Biennale with local artists, and develop three highly innovative with ceramics production techniques, collaborate Residency Center enabled this duoto experiment Yingge Ceramics Museum International Artists and techniques. Athree-month residency at the processes inassociation withartisanal skills, materials, Terra Nova. The Biennale had astrong conception, fabrication, and distribution Sonia Laugier, share aninterest indigital rançois Brument and his partner, the

PRINTING code & the crafts  François Brument

the conception, production, and distri- In Dialogue With François Brument bution of highly original architectural forms. At that time our teachers said we needed to invent our job. I was a good Wendy Gers: You and your partner, Sonia student and invented mine! Laugier, have worked together for many years. Would you describe your partner- WG: What is “design” for you? ship—how do you organize your work, and share tasks? FB: For me, design asks questions about creation with respect to social, cultur- François Brument: It depends on the al, and economic contexts. Our goal is specific project. We share our projects to provide unique services to clients. according to our respective interests, skills, Functionality is a key consideration for and affinities. designers. WG: Why digital tools? We are designers with a strong interest in FB: I am a geek…and I love these tools. the processes of creation and fabrication. When I started my MA studies at École Some people consider us to be artists, as Nationale Supérieure de Création our projects are unconventional in terms Industrielle (ENSCI) Les Ateliers, its of the contemporary French design scene. pedagogy involved a constant association WG: I wish to contextualize your previous of materials, such as wood, metal, and answer in terms of the international design plastic, and programming. I had previ- scene and suggest that this is a particular- ously studied in an applied arts school, ly French approach! and the digital revolution was relatively Yeah, for sure! new. I was inspired by the nonstandard FB: architects of the turn of the century, many WG: How do you define the nature of associated with Columbia University. They your œuvre? researched and developed digital tools for

11 Potter | Studio 12 PRINTING | Studio Potter an eclipseofastralbody. cycle oftheday,aswell face. Thisgesturerecallsthe on ahypotheticalcompass the westerncardinalpoint the easterncardinalpointto rim oftheinnerplate,from moving thefingersalong lamp occursgraduallyby manner. Thelightingofthe turns onandoffinarotary string offineLEDlights, consists ofanintegrated charge. Theirlamp,which the body’s natural electric of thehumantouch,via glaze detectthecapacitance electronics. Sensorsinthe into glazeconductivityand and Laugier’s investigations Eclipse Eclipse draws upon Brument draws uponBrument WG: do things! It is as tool of adesigner.ming astheprimary as It is is central. It isessentialtoenvisage program - In thesetypes ofprojects, digitalprogramming a traditional artisan. ceived, prototyped, andrealized theproject like EDF [theFrench utility company], we con- for themanagementofenergy consumptionfor For example, whenwe worked onapplications duction. There are exceptions tothissituation. individual designer, controls themeansofpro changed, andnowprivate enterprise, notthe associated withproduction. However, thishas provised approach. In thepast,designerswere andim- inthesenseofahands-on is artisanal FB: FB: WG: during ourrespective trainings. that we received (andthatwhichwas missing) constantly questiontheknowledgeandskills energy.lot ofsupplementary Aseducators, we is ascholarlypublication,andthisrequires a higher education,theonlyformofrecognition academic ortheoretical. Unfortunately, within to research andcreation thatisnotnecessarily FB: WG: knowledge. desire skillsandtechnical tobridgeartistic we needtodevelopagreat curiosity and practices.question contemporary Asdesigners, history. We viewourselvesasresearchers who our epochandisengagedwithcontemporary FB: We are digitalartisans, andourtraining It istheway we are andtheway we Our œuvre isfundamentallysituatedin Our projects are unitedbyourapproach What isyourrelationshipwithartisans? How doyouapproachexperimentation? How doyouviewresearch?

- schools andnewpedagogies. Most schoolsare I believethatwe really needto create new we are not fundedasaneducationalstructure. politicalproject, knowledge isanimportant French grants. Whilewe believethatsharing searchers. We have received bothEuropean and include engineers, designers, artisans, andre FB: We are collective, aninterdisciplinary and and itseducationaloutreach? WG: invest innewresearch. projects allow ustoremunerate ourselvesand cific projects. The benefitsaccrued from these and subsequentlyrequested ustodevelopspe exhibited. Future clientsdiscovered ourwork were lucky andwere rapidly recognized and practice towards independentresearch. We FB: WG: her ownlanguage. Rather, eachprogrammer candevelophisor is notjustonesinglesolutiontoaproblem. devised bytheprogram’s author. Oftenthere comprehend thefunctionsandmethods When we read acomputerprogram, we can nicate anddevelopthelogicofone’s project. code isalanguagethatallowsonetocommu- needs tobeacquired andaculture. Digital a tool,it’s bothaprofessional foundationthat FB: guage, atool,orphilosophy? WG: with allyour toolsinyour backpack! tool—it allowsyou tobeatype ofdigitalartisan, education programs. Acomputerisanamazing andtertiary gramming isincludedinsecondary asdrawing.important It isessentialthatpro It isalltheabove, andmore. It’s notmerely Early inourcareer, we chosetoorientour How doyoufinanceyourprojects? What isthedigitalrealmforyou:alan- Please tellmemoreaboutLes ArtsCodés

- - - PRINTING 13 | Studio Potter 14 PRINTING | Studio Potter kable plates. a custom-madesetofstackableplates. that couldempowerthelayperson todesign machine andthedevelopmentof anapp was innovativeinitshybriduseof aCNC an internationalperspective,thisproject removal oftheedgesanobject.From notion of The titleisaplayonwords,referringtothe featuring thespeciallyconceivedapplication. plates, cut-outsurplusrings,andthetablet the originalmold,variousseriesofstackable the CNCmachine.TheTCB exhibitionincluded engraving thetextureintoaplastermoldwith blank plates’ texturedbaseswerecreatedby a CAD(Computer-AidedDesign)program,the a CNC(ComputerNumericControl)cutter. Using out fromslip-castporcelainblankplatesusing elements. Theplatesinthiscollectionwerecut graduations insizebetweentheindividual plates. Theappcalculatestheincremental the uppermost(smallest)andlowest(largest) the collectionandwidthbreadthof customized includethenumberofplatesin on atablet.Theparametersthatmaybe design aplatecollectionusinganapplication Cutting Edgesaimstoallowthepubliceasily end-users canproducetheirownobjects. objects todevelopinginteractivesystemswhere focus representsashiftfromconceivingunique new waystodesignormodifyobjects.This existing digitaltoolsasameansofcreating projects, CuttingEdgesfocusesoncustomizing Like manyofBrumentandLaugier’s previous Cutting Edges as well as the physical avant gardeaswellthephysical tial elements of this ecosystem. tial elementsofthisecosystem. and workspacescollaborative spacesare essen- In order todoreal research, oneneedsreal means, schools, suchasÉcole42,whichisprivately funded. means, whencompared particularly toindependent research asaspaceforpreliminary butlacks serve for digitalexperimentation.LesArts Codés can far tootraditional andlackreal spacesandmeans as itisinconstantevolution. dents needtobepassionateabout this“universe,” researchary andexperimentation.Likewise, stu- educational structures thatpermit interdisciplin- schools anduniversities. We needtocreate new plines. This isreally art difficultincontemporary technical,andscientificdisci- together artistic, The particularity ofwhatwe doisthatwe bring is evidentinmostofhisprojects. mix boththehandanddigitaltools in creatinghybridprocesseswhich jockey) activities,andhisinterest engaged inDJ andVJ (video- tempo. Asastudent,Brument and spicedupwithadifferent tracks, whichmayberepeated harmonic mixingandremixingof audio setsthatmayincludelive a tagteam,producingvarious music clubs.AteamofDJs form practices inelectronic-andhouse- to collaborativediscjockey(DJ) The title“BacktoBack”refers the basesofbisqueplatters. milled withaCNCmachineinto into graphiciconsandmotifs The landscapeswerethenconverted that appearedonacomputerscreen. three-dimensional graphiclandscape were transformedinrealtimeintoa throwing process.Thesegestures hand gesturesofLiuduringthe to record,track,andinterpretthe Kinect infraredprojectorandcamera Center, BrumentandLaugier useda of theYinggeMuseumResidency Ken Liu,artistandstudiotechnician Working in closeassociationwith Back to Back LEARN MORE at in-flexions.com PRINTING 15 | Studio Potter

DIGITAL AGE DIGITAL POTTING IN A POTTINGIN 16 PRINTING | Studio Potter have a digital firing controller or use glaze calculation have a digital firingcontroller oruseglazecalculation been forsometime. Whowithanelectric kilndoesnot in studio,the pottery seen—even where computers have social effectsofthistechnologyaretobe everywhere compute informationatfasterandspeeds. The a potis, foryou. possibly thisisnotthearticle pots lookthesame?If you thinkyou knowexactlywhat is allaboutdomestic,utilitarianfunction,why don’t all culture inwhichitwas produced. Simplyput,ifpottery a commonvisuallanguageandtradition thatreflects the notboundbyany construct, singlefunctionbutmore of Like them or loathe them, computers are able to Like themorloathethem,computersare able to BY JONATHAN KEEP no more thanasculptural object,ahuman the diverseheritageofpottery, thatapotis tous. Iamoftheopinion,having considered age inwhichcomputertechnologyisubiqui- that represent theageinwhich Ilive—an continue thetradition ofmakingclay vessels identify asapotter, acreative whowants to culture andofthepeoplewhomadethem.I that express thecharacter and storiesofthe clay exists, istobefound,objects pottery pottery. In corneroftheglobewhere every of this journalthelonganddiversehistory tothereaders of EXPLAIN NEEDTO DO NOT manipulation forme. Onscreen, formscouldeasilybe opened upawholenewworldof formexploration and tunity in1999tousecomputer3-Dmodelingsoftware expressive shapes, butitwas aslow process. An oppor Coil buildingoffered mesomuch more intheway of the limitsthismachineimposesonsculptural shapes. hood; overtimeIbecameincreasingly frustrated by form. Ihave thrown wheelsincechild - onthepottery shop, ishow itisused. sowhatisimportant bad. Technology work isunavoidable inthepottery viewthathandisgood,mechanisedprocess is binary gestures andmarks, butIdoquestiontheromanticised hand andtheability ofthehandtooffersubtle, readable I donotaimtounderminethesensitivity ofthehuman represents lowpay and,notuncommonly, exploitation. remember thatindevelopingnationshandmadeoften indulgence inanaffluentsociety, butitishelpfulto handmade potissomethingofanindulgence, anice mass-produced withminimalhandworkinvolved. The ismechanically that inthemodernworldmostpottery That artifact. imageisfarfrom considering thetruth, and therelationship between themaker andtheobject. code, howthismightcometoredefine whatapotis, as generating formsfor3-Dprintingwithcomputer ways ofworkingwithclay thatcomputationoffers, such studio. exciting Whatisparticularly tomeare thenew software? The digitalrevolution isalready inthepottery I am the kind of potter whose work is primarily about I amthekindofpotter whoseworkis primarily about The isthatofthehandmade popularimageofpottery - - keep-art.co.uk [email protected] teaches internationally. London, heexhibitsand the Royal CollegeofArt, on form.Agraduateof quality andemphasis for theirstrongsculptural ics thatarerecognizable printing, hemakes ceram- studio-based ceramic3-D A leadingexponentof Suffolk, UnitedKingdom. ing artistpotterbasedin an independentpractic- Africa, JonathanKeep is Originally fromSouth BIO and glaze. Photobyartist. 3D-printed porcelainclay each. Code-generated, Bed, 2013.3x3x4in.  Jonathan Keep. Seed

PRINTING 17 | Studio Potter 18 PRINTING | Studio Potter ing andfinishingprocesses. There isno need tofire itanddoall thestandard glaz- consistencies, andsoon.And you still to different machines, different clays, clay ing. styles Different ofworkare bestsuited showing thatthere isnooneway ofwork traditional clay-working methods. Time is well asknowledgeofmany oftheother material knowledgeisstillrequired as technique.the construction Significant be learned.Clay 3-Dprintingisonly and newskillsincontrolling itneedto limitations thatneedtobeunderstood, ceramics will be lost.The machinehas fear thetradition andskillrelated to what 3-Dprintedceramics entail,people the way allmy Iconstruct work. oping andrefining theprocess, thisisnow system. Although Iamconstantlydevel visited UNFOLDin2010andcopiedtheir After seeingthisdevelopmentonline, I we hadit,computer-guided coilbuilding. athinlineofclay—and so they extruded compressed airtopressurize thesyringe, than theplasticprinterhead.Then using by attaching aclay-filled syringe rather were thefirsttohacka3-Dprinterkit of DriesVerbruggen andClaire Warnier printer. UNFOLD, theBelgiandesignduo the now-ubiquitous tabletop, plastic3-D maker communitiesandtheemergence of ing, butthiswas before theexplosionof into thepossibilitiesofclay 3-Dprint and intophysical clay objects. Ilooked digital informationoutofthecomputer The problem, then,was howtogetthis viewing. offering afullthree-dimensional andeditedwhile manipulated, distorted, Because of a huge misconception of Because ofahugemisconception - - - material, bothclay andglaze, profoundly ing techniqueandtheirhandling ofthe tion. The ormaker’s artist choiceofform- process, humanexpression andimagina- maker andthepotasanexpressive object. we willseearedefinitionsuggest between rather than manual dexterity. That is why I to workthatexplores newvisualcontent to suchanextentandthusopensthedoor which doesnotinvolve themaker’s hand different workflow from ideatoexecution, coiling process, layer bylayer. There isa physical formthrough thismechanical space onscreen,virtual thenmadeinto be generated ordrawn inaninteractive ing. With theaidof computers, ideascan to theevenoldertradition ofcoilbuild- 3-D printingcouldbeconsidered areturn the result ofaturningmachine. Soclay are ultimatelyjustamachineaesthetic, ing ringsconsidered amarkofthemaker rical process thatisinvolved. The throw surface becauseoftherevolving symmet formand in thedevelopmentofpottery wheel hasactuallybeenhugelyrestrictive of pottery. thepottery Iwouldsuggest many thewheel-thrown potistheimage wheelwas developed,andnowfor pottery coil-built potswere thenorm,then oftheceramic become part tradition. andintimewilljust but are anadd-on take conventional ways ofworkinginclay, tal ways ofworkingare notgoingtoover as Iamconcerned,3-Dprintinganddigi- sense thattradition isacontinuum.Asfar deskilling intheprocess whendonewell. In essence, pottery is about material and There where was atimeinhistory I considermyself atraditionalist inthe - - - stoneware clay. Photobyartist. 3D-printed, variegated in. each.Code-generated, Hill Series,2026.28x13x12  JonathanKeep. Ant PRINTING 19 | Studio Potter 20 PRINTING | Studio Potter that are generated from computercodemake to reference thelayering oftheice. The forms and thelayering ofthe3-Dprintingprocess porcelain clay toechothetranslucency ofice, Iceberg Field, Ihave usedthetranslucency of object. Continuing thistradition inmy series qualities are intrinsictotheexpression ofthe process remains andits criticallyimportant, affect theaestheticofwork.For me, a natural material(clay) and,through theuse linked totechnologyinthatitinvolves taking and creativity is. Ceramics isinextricably how emotivetheintersectionof technology referred toasarobot, makingmerealise just tion are one. process,the ice—material, inten- andartistic use ofanalgorithmthatmimicstheerosion of Recently Iheard theclay 3-Dprinterbeing  and glaze. Photobyartist. generated, 3D-printedclay 2018. 10x48x96in.Code- Jonathan Keep. IThink, common formattocollaborate withother there issomuchmore opportunity tousethis ideas are beingworked upindigital media, code togenerate formsandideas. Once your the software interfaceandtousecomputer form, butequallyinteresting isto gobelow of 3-Dsoftware tomanipulateandexplore user controls. Ihave spoken abouttheability accordingrun toanunderlyingcodethatthe software, suchasthe3-Dmodelling program, make hardware, suchasthe3-Dprinter, or process ofcalculation canthenbeusedto clay is the newways ofworkingitoffers. This fast—in ability tocomputeinformationvery computers orcomputation—themachine’s it’s notforeverybody. Whatdrew metousing involved incomputers, andIappreciate that aided devices. You have tobeprepared toget isdoneoncomputerorusingcomputer-part merely theformingtechnique;important is printer is onlytheoutputdevice.3-D The in the3-Dprinterbutmisspointthatit ity ofthecreator. to isthatthrough whichIcanread thehuman- is usedtomake it,theartwork Imostrespond are takingovertheworld.Whatevertechnology desired outcome;it’s notaboutwhetherrobots of expression, anditscommunicationofthe are thework'ssensitivity andappropriateness tools are significant.Whatshouldbejudged usesthese howtheartist a wheel,knife—and the technology—whateveritmightbe, akiln, The pointtobemadehere important isthat ing anidentity toaperiodoftimeorculture. ment ofworldtraditions ofpottery, oftenoffer have played anincreasing role inthedevelop become ceramic. Technology andmachines of humantechnology, subjectingittoheat Too oftenIseepeoplebecomeinterested - - process, andnotanendinitself. ofthe allow clay 3-Dprintingtobecomepart digital ageandbeyond. And withthis, we can forms through thecurrent age, intothepost- want, andtheideaofapotwillliveoninmany material culture, we canmake itwhateverwe was tosay that surely, of part asanimportant its ownvisuallanguageandtradition. This saying Iseethepotasasculptural objectwith in amore diverseandcreative way. Ibeganby in pottery. It offersthechancetoseepottery ceramics andentrenched views oftradition established assumptionsofhowtoworkwith and augmented-reality equipment,challenges and 3-Dmodellingsoftware, 3-Dscanners, the power ofcomputation,suchas3-Dprinters life,contemporary culture, andthought. much more dynamicandrelevant portrayal of totake forpottery ona offering opportunities and exchanged asdatabetween disciplines, and informationcaneasilybetransferred disciplinesorwiththesciences.artistic Ideas Working withdigitaltoolsthatmake useof  and glaze. Photobyartist. 3D-printed porcelainclay in. each.Code-generated, Field, 2012-2016.12x6x5 Jonathan Keep. Iceberg PRINTING 21 | Studio Potter 22 PRINTING | Studio Potter making 2018, andhetold mehewas Colorado. ItwasOctober interview, he wasinsouthern California, atthetimeof the phone.Thoughhelives in (2018). Ispoke withRael over Recipes for 3-DPrinting Architecture: Innovative (2017),andPrinting Boundary Manifesto for theUS-Mexico asArchitecture: A Borderwall Earth Architecture (2008), Fratello andistheauthorof with architect VirginiaSan company Emerging Objects Berkeley. Heco-founded the at theUniversity ofCalifornia, Department ofArtPractice Environmental Design,andthe Architecture intheCollegeof in theDepartmentof with ajointappointment professor ofarchitecture RONALD RAELisa a cupofhotchocolate.

of Borderlands The Architecture Bryan Czibesz: RONALD RAELBY BRYAN CZIBESZ A CONVERSATION WITH 3-D printing. I started 3-D printing clay because I I because clay printing 3-D started I printing. 3-D in interest my does as construction, earthen in est sometimes theydon’t. of language. Sometimestheymove together, and always merge. It’s aconfluenceofculture, offood, borderland, there are interesting juxtapositionsthatdon’t about theway peoplemake thingstraditionally andhow, ina into academiawithakindofintellectualinterest. Iwas justcurious thatprobablyparticular prompts all ofmy interests. Ididn’t get in thisregion forelevengenerations. And soit’s thislandscapein have been inmy familyforalongtime, andmy familyhaslived U.S. andMexico until1848. The houses are adobehousesthat ofColorado part and thisparticular was theborder between the Igrewto start. uponasmallsheepandcattle ranch inColorado, Ronald Rael: Sure. Maybe I’llcontextualizeitfrom my background, together inwhatyoudo? research interests,yourbackground, andhowallthesethingscome studies andcraftdisciplines,too. Canyoutalkalittlebitaboutyour is obviouslyreflectiveofthat,andviceversa. You workinmaterial but alsoincludesenvironmentaldesignandartpractice;yourwork My interest in ceramics originates from my inter my from originates ceramics in interestMy Your appointmentatUCBerkeley isinarchitecture

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 Millman. by Matthew Photography powder. grape pomace Chardonnay sawdust, cement, acid, Portland polylactic tea leaves, 3D-printed clay, 2018. (interior), Curiosities of 3D-Printed Rael.  2018. (exterior), Curiosities of 3D-Printed Rael. Ronald Ronald Cabin Cabin Cabin Cabin

PRINTING 23 | Studio Potter 24 PRINTING | Studio Potter ties asastudenttotravel toWest Africa and - the world;andIhadacoupleof opportuni as well asarchitecture allover madeofearth ture traditions inColorado andNew Mexico, in theworld;Iwas exploringmy ownarchitec- Library, whichisthebestarchitecture library renowned historian, Iwas studyingatAvery architecture withKenneth Frampton, who’s a there. And simultaneoustostudyingmodern lution was borninarchitecture, andIwas architecture firms.” are onlygetting jobsinHollywood, notin happening at Columbia? This is crazy. Students computers, andpeoplewere saying, is “What will neverusecomputers.” We were onlyusing highly criticalofit,saying, “Well, architects radical rethinking ofarchitecture; peoplewere was calledthe“paperless studio.” This was a the nineties, anditwas thefirst year ofwhat went toschoolatColumbia University in RR: and 3-Dprintinghaveitsgenesis? BC: person whodoesthat.” after I wrote that, I said, “Well, I want to be the then, And printing. 3-D archi- be to going earthen is tecture of future the that wrote I so And material? future a earth is ask, I which in back the in chapter little one is there and rial, mate traditional a and material modern a is earth how about curiosity my of result the is control. more want I because hardware, and software [designing] to led now has differ and materials of ent lots with working of direction the in me took It buildings. mud print to wanted It was themomentthatdigital revo Thewrote2008,I in book It’s from my architectural training. I Where did your interest in digital design Where didyourinterestindigitaldesign EarthArchitecture , - - - scale. Working onthetranslation and thescale thinking aboutbuildings. It was justadifferent this process. All thosetestswere intentional wondering howtomake abuildingusing behavior ofthemachine, becausewe were body doesnow. We were justplaying withthe 3-D printinginclay], somethingthatevery something]. We were around squiggling [doing computerized machinetoolshowtomake for thenumericlanguageinwhichpeopletell GCODE.Clay isthecommonname [G-code towardstrajectory abuilding intheirform. some a materialbutthatare also—have things we make are objectsthatare testing of research; it’s thesameinterest. Most ofthe as thesamekindofstudy:it’s thesamebody a cup, Isee[objectmakingandarchitecture] object.” Whetheritismanifestinabuildingor him thatI’m interested inthe“architectural today whoasked measimilarquestion.Itold RR: as opposedtoarchitecture? that termandyourinterestinobjectmaking, the firmasa“make tank.” Canyoutalkabout BC: which Iwas familiarwithfrom my childhood. new ways ofguidingandshapingthematerial, technology, it’s more just[aboutdeveloping] an interest informoranobsessionwiththe rural landscape. Soit’s notsomuchbornof being abletoaddress someofthosequestions. representation justled,naturally, Ithink,to est andtraining indigitalways ofmakingand architecture?”earthen My continuedinter me towonder, “Okay, well, isthere afuture to France architecture. tostudyearthen This led Three years ago, workingon we started My workisgrounded inborderlands, ina I was hanging out with this videographer I was hangingoutwiththisvideographer The Emerging Objects website describes The EmergingObjectswebsitedescribes - - while, about three years ago, andatthattime Potterbot clay 3-D printer]onGoogle+fora the company Deltabots, whichmakes the I was followingDanny Defelici[ownerof RR: those rightnow? of resulted inafewpotteryprojectsthatarepart physical size, aswellinproduction,have BC: body aswell. some othermaterial,butIthinkitcouldbethe enters, howsomethingexits. It’s oftenliquidor about thesesameissuesofhowsomething result ofwanting tomake spaceandthinking space. You’re makingavoid.The objectisthe vessel-making] isthesame, it’s themakingof around potters, becauseIrealize that[ceramic it’s been,actually, really gratifying formetobe RR: to architecture, too. you enterorexitfromit.Allthosethingsrelate outside, asspacesinhabitedorcontained,how relationship betweenavessel’s insideandits too, whenyouthinkaboutscale. There’s the BC: function. form andthematerialwhattheydo, their piece ofalarger whole, bothintermsofthe Any oneofthoseobjectsisinteresting asa Curiosities isanobjectcovered withobjects. even beanobject?For example, The Cabin of tural componentandhowcana ular material,printed,couldbeanarchitec- how doyou jumpscale? shift between thetwo isanaspiration ofmine: We’re alsoinvestigating- howthatpartic Emerging Objects.What’s happeningwith I’m notapotter ortrained inceramics, so I’ll givealittle background toitfirst. Your interestsinscaling3-Dprinting There’s alotofinterestingrelationships

a robust printer, andI’m excited aboutwhat objects atonceoritcanprinta big object.It’s in acoupleweeks. in production thatwe’re goingtoputthetest adapted SCARA. Now we have areally bigone to build.” And so[ourmachine]iskindofan the mathematicsare there. This wouldbeeasy Danny discovered theSCARA andsaid,“All the manufacture of3-Dprinters]hasbuiltnow. [World’s Advanced Saving Project, pioneersin similar towhattheItalian organization WASP and itwas kindofawkward, butitwas actually Danny madeaprototype thatspunaround, Assembly Robot Arm], anoldertype ofrobot. about theSCARA [SelectiveCompliance Russian printerthatdidthat,norIknow Ihadnotyet seenthe spun around itself?” thought Iwas crazy, orwhatever. And itwas justnotintheirwheelhouse, orthey and said,“Hey, doyou thinkwe coulddothis?” there were plenty oftimesIwent topeople of friendship thatIdidn’t expectatall,because ing.” And hejust said,“Well, let’s doit.” to buildaprinterthatcanprintanadobe- said, “Hey, Danny, I have thiscrazy idea. Iwant enoughatonepointthatI I feltcomfortable the publicity comingfrom ourwork.Iguess and hewas sellingalotofmachinesbasedon because Iwas buying alotofthesemachines, Clay stuffcamefrom initially. machines, andthat’s where allthisGCODE. the rightway todoit.” Iboughtoneofhisfirst guy well, has andIthought,“This doing very I hadtheseaspirations toprintadobe. Iwasn’t tomake aclay extruder,I was trying because We realized that itcanprintanumberof I hadsaidtoDanny, ifamachine “What That launchedusintoawholedifferent kind Danny andIquicklybecamecollaborators how we could make something with the least how we couldmake somethingwiththeleast issue ofdatamanagement.We wanted toknow tectural projects thatspecificallylooked atthis logistics], thenitgetsalittle bitcrazy. you’re managing[thephysical production and to press theprint button 500times, butwhen gonna make 500different things, thenit’s easy like, let’s say, for500different customers, we’re problems. If we’re producing different things, that have topacktheseinboxes—feel the peoplewhoare pressing care—the thebutton, doesn’t care. WhatIrealize isthatpeople RR: play intotheselargeproductionruns? changes canbemadedigitally. Howdoesthat variation orshiftsinscalebecausethose identical things,3-Dprintersdon’t careabout a rigidmold,whichrequiresyoutomake 3-D printingisthat,unlike productionfrom BC: alittletion runs bitmore elegantly. Bottery, we’ll beabletohandlelarger produc- that, soIthinkthatinthenextversionofThe ofmaterial.We’veous delivery gotten goodat learned aboutwhatitmeanstohave continu- that was noteasy. cups thatwe justshippedout,was like, jeez, we’re learningwhatthatmeans. The first200 That’s awholedifferent levelofproduction; hundreds andhundreds ofcup orders tofulfill. this robot, andnowwe have, Idon’t know, mean?” Sowe madethissoftware. We made have toproduce lotsofthings, whatdoesthat test caseforourthoughtthat,“OK, well, ifwe thing you’re askingabout,The Bottery, was a that meansforarchitecture. Butthepottery We’ve donesomeexperimentsinourarchi- We learnedaboutmassproduction, andwe Well, Ithinkthat’s true, thattheprinter One of the things people champion about One ofthethingspeoplechampionabout speaker, Isaid,“Oh, that’s funny, hedidn’t hombres” attheborder. AsanativeSpanish Trump announcedthatthere were “bad in thelaboratory. Iwas inJuarez whenDonald time whenwe were to mixmaterials starting RR: talk abouttheBadOmbrésproject? BC: Solet’s getpoliticalforalittlebit.Canyou something. aspect ofwhatitmeanstomass-customize are slightlydifferent. That’s awholeother there, forexample, sothecolorsandtones Cone 10clay. Sometimesthere’s someiron in RR: BC: on themachinecharacteristics. ric, it’s 4,000 uniquethings thatare justbased printing 4,000 uniquethingsthatare paramet of thebehavior oftheprinter. So, rather than onetobeuniquebecauseofthenature every pected errors. Aflangeoneachtilecauses we designeditsothattheprintermakes unex we printedforthecabinare allthesame, but of Curiosities. Approximately 4,000 tilesthat work ontheceramic claddingforThe Cabin own character. repetitive andhomogeneousbuthave their do, butalsothatproduces objectsthatare not unique, takingadvantage ofwhataprintercan thing inaway thatfacilitatessomethingthat’s us tothinkabouthowwe mightmake some of exercises are interesting forus. They force of theaestheticbuilding. Those kinds and we cancodetheminaway that’s alsopart unique parts, we’re onlymanagingfourparts, number ofparts. Ratherthanmanaging2,500 For example, we putmassproduction to Yeah, theBadOmbrés cameaboutata Right, becausewe decidedtouserecycled And the material, to a certain extent. And thematerial,toacertainextent. - - - PRINTING 25 | Studio Potter Juárez border, 2019. adobe, ElPaso– large-scale 3-Dprinted Virginia SanFratello,  26 PRINTING

| Studio Potter Ronald Rael and the “BadOmbrés.” and mixed themtogether. That resulted in clay from theRepublican stateofGeorgia from theDemocratic stateofCalifornia and Mexico] didn’t seempossible, soIused clay returned toCalifornia, and[usingclay from bad ombrés thathave agradient. ButIhad and clay from theU.S. andproduce asetof My aspiration was totake clay from Mexico gradient andculture, buthethinksit’s bad. thought, oh,that’s funny. He recognizes this is agradient between darkandlight,I were bad‘ombrés.’” And anombré, ofcourse, say they were bad‘hombres,’ hesaidthey

Cities, Future RuinsattheBorder [curated by ical relationships. The exhibitiscalledNew blend theclays, aswell, toexpress thesepolit characteristics, andwe’re to alsogoingtostart incolorand material so thattheyvary Ombres.” Butwe’re gonnaprinttheseobjects Probably not.Maybe I’llcallthem“Good know ifI’llcallthem“BadOmbres” ornot. don’tmaking aseriesofvesselsthatare—I from thatlandscapeare really amazing. We’re The complexionofclays thatare emerging along theborder between Juarez andElPaso. we’reJanuary, in collectingclays exhibit For aproject ofan thatwillbepart - international failure. an internationaldisasteronmy hands, an go outtotheborder. Idon’t want tohave works. If that’s successful, thenwe will talking abovesixfeetbig— toseeifthat Paso, to printsomethingbig—I’m andtry we may just gototheUniversity ofTexas, El will bethefirstbigthing we’ve printed, so going outthere intwo weeks totry. This gonna beabletopullthatoff, butwe’re would spantheborder. Idon’t knowifwe’re new kindof“future ruin” monumentthat the Rio Grande. The printerwouldcreate a international agreement tohave accessto cannot bebuilt,becauseofatristateand It’s alsotheonlyplacewhere aborder wall we wanted toplacetheprinterrightthere. cal, historical,andcultural landmark,so American andMexican in1855. surveyors to California, it’s alandborder definedby the United StatesandMexico. From there Grande thatmarkstheborder between one begins, whichisthepointonRio point where theborder marker number de Adobe, andit’s amuseum.It’s alsothe Mexican Revolution began.It’s calledCasa Mexico, Texas, andChihuahua,where the adobe houseattheintersectionofNew it anyway. The maingoalisthatthere’s an what ourmaingoalis, butI’m gonnado fest, andI’m alittle bithesitanttoreveal different ways thattheprinting might mani- going touselocalclay toprint.Now, there’s between Juarez andElPaso, andwe are are takingthegiantprintertoborder we’ve brought an adobe maker on board. We Gavin Kroeber]. This isanintensegeographical, politi- Another aspectofthisexhibitionisthat ty-first century, withoutany architects [being largest project construction ofthetwen- which was fundamentally the construction], what itmeantforanarchitect towitness[its living there. toreconcile Iwas alsotrying fications of[the wall] forpeoplewho were and Iwas atground zero; we saw therami - really fascinated withwhatwas happening, mandated 800milesofwall. Ijustbecame ing oftheSecure Fence Act of2006, which border was occurring rightbefore thepass- this day. And thisheightenedvigilance ofthe ists cominginfrom Mexico then,andnoneto terrorists, eventhough there were noterror to bemore secure from toprotect thecountry this notionthattheMexican border needed events happeningafter9/11,whenthere was Prada store here.” could we say? “Oh, we’re goingtobuilda asked whatwe were doingthere. And what of nowhere. They approached and thetruck they camefrom; we were outinthemiddle border patrol agents. Ihadnoideawhere Marfa, we were suddenlysurrounded by we showed upatthesiteoffuture Prada my age. moment,when Butthatparticular just becauseofmaybe whatIlooklike or many timesandbeenstoppedmany times, visit in2005. Ihadgoneacross theborder first site Irememberconstruction. thatvery to designPrada Marfa andtooverseeits two houses—andthenwe were hired were designingahouseinMarfa—actually, RR: experienced ontheborder? an interestinggenesis—aneventthatyou Architecture. FromwhatIcouldtell,ithad the borderandbook,Borderwallas BC: That was just the beginning of a series of That was justthebeginningofaseries Yes, the2005P This makes me want to talk about makes mewanttotalkabout rada Marfa project. We - tect isproposing it.WhenIwas draw something, thatthearchi itsuggests - confusion. Whenanarchitect draws ized, recently, thatleadstoasenseof would render something, andIreal cartoons, rendered asanarchitect illustrated withaseriesofpolitical The bookmightbeconsidered tobe I wanted tobeapoliticalcartoonist. bered thatwhenIwas injuniorhigh, a formofdocumentation.Iremem- what was occurring—in away, itwas was occurring and,also, hyperbolizing coming totermsorreconciling what us designingwalls; itwas more about what thatmeant.And itwasn’t about a setof, Iwouldsay, musingsabout Virginia producing andIjuststarted ecologically, humanistically?” about, andwhatare theramifications isthisall involved]. Ithought,“What about the relationship with people about therelationship withpeople the wall. versions ofways ofthinkingabout solar wall, Ithinkthey’re different thing from theteeter-totters tothe ulous Ithoughtthingswere. Soevery I was making apointabouthowridic- was reflecting onthem.[It was] satire. ing things, I wasn’t proposing them,I So, that’s how[thebook]was born. For example, the teeter-totter is by MatthewMillman. Planter Tiles.Photograph Stitch tileandhexagonal detail ofceramicSeed of 3D-PrintedCuriosities,  Ronald Rael. Cabin - - - PRINTING 27 | Studio Potter 28 PRINTING | Studio Potter 3-D printedhardware. is hungusingcustom, building; eachassembly cladding systemsfor Prototypes forceramic GCODE.Clay, 2016. Wilson, AlexSchofield. San Fratello, Kent  Ronald Rael, Virginia artists engage with [the idea of the] wall, and some engagewith[theideaofthe] wall, andsome artists for ways to engagethewholeideaofwall. Many or newwalls orevendifferent walls—we’re advocating because Idon’t condoneany ofthe wall construction seriousaboutit,which isalsounfortunate, very actually want todesign[Trump’s] wall. And they’re me designingwalls atatime whenseveral architects critics evenread thebook,tomake assumptionsabout unfortunate. Ithinkit’s alittle bit lazy. Iwonderifthe guy’s“This notgonnabepresident.” end aboutTrump, onlybecausepreviously Ithought, that we cantake.” SoIaddedthisoneparagraph atthe she said,“I’llgiveyou oneparagraph attheend.It’s all this campaignofthewall. Can Iaddsomething?”And editor, “Trump ispresident now, andhe’s on running just signingoffonitsocouldgotoprint.Iasked my copy editorhadbeenthrough everything, andIwas the approvals oftheeditsfinalchapter, sothe I was submitting thefinalchapter. I was submitting border walls. ButTrump was electedthenightthat —always take thepositionthatI’m designingTrump’s ground—this academia isatendencyofcontemporary to positionthemselvesinsomekindofhighermoral whitePhDstrying the book],whoare overwhelmingly nized asacritiqueofthewall. However, thecritics[of conversation thattheworkbecamemuchmore recog - kindofotherinvestment couldoccur?” “What treatment plants?Why don’t you buildlibraries?” Like, generate power? Why don’t you buildwaste-water wall, forexample, was suggesting, don’t “Why you screws up, theotherpersonisscrewed. And thesolar you were akid,thatwas thebigfear. If oneperson teeter-totter whenyou were on theotherend.When ever [hadtheexperienceofsomeone]jumpingoffa and culture occur, and—Idon’t knowifyou have literally through thisbinationalfulcrum whichtrade side hasconsequencesontheotherside. The border is on theothersideofborder. Whatwe doonone This misunderstanding, thatI’m proposing walls, is It’s maybe notuntilTrump appeared inthepolitical artists have even realized some of the draw- overpasses are always built in minority, impov- BC: It’s a trope now, that 3-D printing is the PRINTING ings in [Borderwall as Architecture], however erished communities, and wastewater treat- next big thing, it’s the new technology that they do not receive the same criticisms, such ment plants, the same. is going to save everybody. Can you help as, “Oh, you’re putting pearls on a pig,” or “You These projects perpetuate violence and us understand that, in terms of what this can’t engage in this, because you’re perpetuat- poverty and health problems as well, and I company really wants to do and what your role ing the violence of the wall.” You just have to don’t think the answer is to not engage the in it is? ignore it. Many of my heroes in the art world spaces that those projects endanger. I think RR: I come to 3-D printing with a healthy are engaging it in a really productive way that those are precisely the landscapes that need degree of skepticism about its potential to shows that design and art can be valid forms of parks, need investment in education, and save the planet. I would also say that one of activism. For example, in the book, I talk about clean water, and connection with the commu- my critiques of 3-D printing, and maybe what Ana Teresa Fernandez, who painted the wall to nity. We could simply say, “Let’s knock down pushed me into thinking about alternative suggest its erasure. the wall,” but I think you can’t stop there. You materials for 3-D printing, is that one of the have to begin to stitch together the commu- BC: So in terms of protest and activism as an biggest problems on the planet is the use of nities because once the wall is gone, a scar architect, what is your response to somebody plastic. Here comes along this “world-saving” remains. Ronald Rael and Virginia seriously asking you what the wall should look technology that perpetuates the use of plastic. San Fratello, with Michael For example in San Francisco, a high- Elmgreen, Ingar Dragset, like? Say, the wall has to exist, what is the best To me, there’s a problem right there. To 3-D and Joerg Boettger. Prada way overpass was built through poor black Marfa, 2005. Mud-brick form of protest in the context of the reality of print automobiles, for example, and to print neighborhoods and the result was violence construction; Marfa, Texas. the wall? and crime. It then fell as a result of an earth- RR: I have been approached by major 3-D quake, and once that highway was gone, these printing companies who say, “Hey, let’s go in communities started to be stitched together. on this together to 3-D print the walls. You There’s a green belt where the highway used have the perfect credentials for that.” And my to be. So one can think about these events as answer, of course, is no. It’s a teaching moment opportunities. I see opportunities for archi- to say, “Look, here’s why I think it’s a bad idea.” tects to think about in the future, like, what is I’m actually very surprised that I’ve never seen to become of these landscapes? And so, turn- a proposal to 3-D print the wall. It seems like ing a blind eye on problems, such as the border something that would go viral on the Internet. wall, is unfortunate. That’s not a form of activ- But thankfully, there’s never been somebody ism; activism is engaging problems head on. putting such a proposal forward. I think that’s a good segue into your work Let’s say I had the opportunity to have a BC: with WASP, an acronym that involves saving discussion about that. I would say what I’ve the planet. I can never remember exactly often said. I consider the wall to be an infra- what it stands for. structure project; it’s a security infrastructure project. In the majority of the cases that I’ve RR: Let me just say, because we had such a good encountered, especially in Mexico, people see time talking about it one night, it’s the World’s the wall as a kind of infrastructure no differ- Advanced Saving Project. And “World’s” is a ent than a highway overpass. These kinds of possessive. It’s not plural. But I’m not directly infrastructure are often built in contexts that affiliated with them—I was recently invited to take advantage of the population; highway speak at one of their events.

29 30 PRINTING using ablendofclays. 2017. 3-Dprintedvessel Ombrés V.1 (series), Phirak Suon,Bad Virginia SanFratello, | Studio Potter  Ronald Rael, are inconversation witheach other, butwe have donethat. [a low-cost]house, becauseIwould’ve liked to amount ofjealousyforWASP, who3-Dprinted and formarchitecture. Ihave ahealthy more selfishly guideddesires aboutmaterial with desires for low-cost housing. They’re areprinting withearth notnecessarilyaligned it’s notthere yet. And my desires for3-D who doesthat,butitisstillquiteexpensive— be great, andIwouldlovetobetheperson beautiful housesforthepoor?”Ithinkthat’d raises theirhandandsays, “Can you print been aproductive skepticism forme. about “saving.” Ihave my skepticism, andit’s barracks,3-D military defiesutopianideas What’s beautifulnowisthat[WASP andI] Probably timeIlecture, every somebody of himbecause he was intheMiddleEast.He Wright andLeCorbusier, butnobodyknew famous architect atthetime ofFrank Lloyd Egyptian architect, Hassan Fathy. He was a the ninety-nine percent. have desires abouthelping, tohelp particularly realm ofinexpensive architecture, andwe do ner Virginia andIhave achieved iswithinthe has achieved.The innovation thatmy part tecture, soitisnotdissimilartowhatWASP archi 3-Dprintingandearthen - spectrum, however, that’s lookingatbothendsofthe long termproject with3DPotter rightnow, some workthatwe’ve done. I’m involved ina and I’m pretty sure thattheywere inspired by future. Ithinktheyare doinggoodthings, don’t have any planstodoanything inthe One ofmy architectural heroes isthis - FDA approves emergency testswhenthebaby this because the allowed permissiontotry most brilliantinnovation I’veseen.He was allowing thechildtobreathe. This isthe a scarthatfirmsthetubeand keeps itopen, ultimately dissolvesinthebaby andcreates they canplaceintothebronchial tube, andit tube collapses. He created a3-Dprintedinsert peculiarconditionwhere theirbronchial very 3-D printedimplantsforinfantsthathave a RR: idealism ofthegoalwithsomepracticality. the world,soit’s probablygoodtobalancethe can printthatmagicallyandimmediatelysaves BC: meets codes.” be more acceptingofthis. Let’s seehowit and say, “Let’s figure outhowcontractors can save theworld,” butalsohave thisconference skepticism. They’re willingtosay, “We’re gonna which tellsmethatthey, too, have ahealthy reallyconstruction—a pragmatic conversation, what itmeanttonormalize3-Dprintingand much aboutsaving theworldaswe didabout that was 3-D printed. We probably didn’t talk so ofthisadobehouse launched theconstruction to make hugechangesontheplanet. who believethistechnologyhasthepotential They have followers, bothemployees andfans, from in everything architecture tohealthart. the twenty-first century, andtheyare invested ninety-nine percent]. the for meinthinkingabout[howtoserve Fathy andhisbookaremotivators important that was beautiful,elegant,andinexpensive. creating architecture earthen forthepeople, wrote abook,Architecture forthePeople , about I was invited toaWASP conference, which WASP utopicideasaboutmakingin hasvery I metthisyoung physician whodeveloped Right, there’s notasingleobjectthatyou between ascientificorganization andaceramic creating bird’s artificial nests—acollaboration example, we have also beencollaborating on one caninvest intheircraft tobeanactivist. For let’s say, andpicket and protest, but Ithinkthat one couldabandonone’s ownprofessional tools, our activism—howdesigncanbeactivism. wanted todo. Iwouldalignthisproject with saving the planet.This isexactlywhatwe behavior research isappliedintherealm of it’s where ourmaterialresearch androbotic world. That’s pretty exciting forus, because them, whichare nowbeingtestedalloverthe of seedingunitsandproduced over4,000 of ocean. We created fiveorsixdifferent types andinthe can beseededinthelaboratory developed overyears ofstudyintohowcoral pods basedonparameters thattheyhave scientists whoasked ustodesign theseseed the world.There’s of awholeconsortium work withagroup ofscientistsfrom around a substrate. Not longafterthat,we beganto coral needtopropagate larvae andtofeedon parameters well fortheparticular that very work ascoral habitat,” becauseceramic works clay objects, andtheysaid,“Wow, thatwould specialists cameinandsaw allthe3-Dprinted RR: you justsaid? talk aboutthose, maybeinthecontextofwhat habitat andtheauklethabitat—doyouwantto BC: recognize thatitwilltake sometime. and, tothatend,save theworldinsomeways. I can usetechnologyforimproving people’s lives andcreativethat designersandartists people used several times. SoIthinkthere are ways is goingtodie, anditworked. Now it’s been There are several ways tobeanactivist,and There was oneday whencoral reef The smaller projects—the coral larvae The smallerprojects—thecorallarvae school. Fifteen students, someassistants, and these housesinsummerasahome baseforthe through theUniversity ofColorado. They use from allovertheworld whocangetcredit students arural fieldschool forart M12 runs collaborativeartist calledM12,to comehere. of clay. I’veinvited andan individualartists adobe houseshere inColorado, allmadeout RR: to thisconversation? on orarethinkingaboutthatyouwanttoadd BC: thing usingalocalmaterial. of testingthehardware of thatcandosort late thattoalarger scale. We’re attheinfancy Because thebirds needallthat,we cantrans- walls; we have thermalcoolingandinsulation. tat. They have interiorwalls; theyhave exterior that thenestcouldbescaledasahumanhabi- working withtheGCODE.Clay, we realized projects like thismightimprove habitats. And soit’s exciting tothinkabouthowother for boththescientistsandmanufacturing]. 3-D printedasoneobject,[whichhasbenefits this year. If theywork,thenewdesigncanbe these nests, andthey’llbetaken outandtested this lastweek we wrapped upversiontwo of we’ll findouthowsuccessfultheyare soon. Just first versions, whichare nowbeingtested,and hand-building. So, lastyear, we produced the and whatadvantages thatwouldhave over approached ustoabout3-Dprintingthem, based onthescientists’ specifications. He complex, these nestsisslow;theformsare very because ofsealevelrise. For him,producing habitat hasbeenincreasingly endangered ing ceramic nestsfortheCassin’s auklets, whose Nathanartist, Lynch. Nathan hasbeenproduc- As we were developing the technology and Aswe were developingthetechnologyand I started this conversation talking about thisconversationI started talking about Is there anything else that you have going Is thereanythingelsethatyouhavegoing just talkingtoyou. allowing metobeinvolved, anditwas nice RR: drank thehotchocolateyouwereplanningto. the timewhileyou’retheretodothis.Ihopeyou conversation, sothankyoumuchfortaking are inColorado, whichisabeautifulpartofthis BC: and fullofpossibilities. thatisdeepandthick the centersofaterritory not thefringes ofaterritory, theseare actually acknowledge themandacceptthattheseare cultures upagainsteachother. rubbing We can interesting placesbecauseofthedifferent Tijuana, Ithinkthoseborderlands are exciting, someone whospentalotoftimeinJuarez and are oftenthoughtofasnegativeplaces. As place, notanegativeplace. Ithinkborders RR: the landscapeandallofyourbackground says. border inthefirstplace, whichseemstobewhat BC: this career. be aniceway tomoveintothenextphaseof education, andborderlands, Ithinkthatwould architecture,I canlassoearthen 3-Dprinting, RR: BC: Also, Ijustbecamefullprofessor two days ago! earthenware thatistiedtotheregional history. ceramic component—maybe we coulduselocal inthelandscape.art I’m hopingthere canbea a coupleofprofessors stay here andproduce It’s anhonortobetalkingyouwhile And maybedispeltheideathatthere’s a Yeah, Idid.really appreciate you And thinkingofthatplaceasaproductive Thanks. It’s amomentto take bigrisks. If Congratulations. LEARN MORE rael-sanfratello.com andemergingobjects.com

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PRINTING 31 | Studio Potter 32 PRINTING | Studio Potter T the different stages of drying clay.the different stagesofdrying leather-hard, orbone-dry, toexplain see thisintheuseofterms, suchas and requires metaphortodescribe. We can bemaddeninglyhard toquantify before casting. This subtleinformation gauging themoisture inaplastermold morning afterathrowing session,or when firsttouchingapot’s surfacethe transferred from clay tothefingertips detailed materialinformationthatis is rooted inthe body. It isfoundinthe is anexperienceofintelligencethat to hoverbefore thought.This working withclay thatseem here are momentswhen Ephemeral Material BY STACY JOSCOTT pernicious green flame when firing in pernicious green flamewhen firing lar shadeoforange insideakilnorthe rely on subtle cues, such as - the particu their firingatmosphere. Butoften we probe tomeasure theconditionsof rely onathermocoupleoroxygen instance, someonefiringakilnmight quantified andputintolanguage. For based knowledge. from expertise particular suchbody- in theirfingertips, andbuildtheir tion. They begintofeelthesenuances various stagesthanthrough explana- handing themanexampleofclay inits More canbeconveyed toastudent by Some of this information can be Some ofthisinformationcanbe slope andvelocity of theriver, the teristics isembeddedintheclay: the becoming clay. Eachofthesecharac- its natureonpath to toaidearth stagecontributed to floodplain—each from mountainside tovalley toriver the accumulatedmillennia,path istics. The process thatcreated clay, wisdom stemsfrom theircharacter ligence insidematerials, too. Their the clay. lated through direct relationship with these embodiedmemories, accumu- consistsofagradual accretionartist of reduction. The educationofaceramic There isadirect, unmediatedintel - - 3-D printed terracotta.Photocourtesy oftheauthor. Stacy JoScott.Mimic (process shot),2017. 1x1x3in. PRINTING 33 33 || Studio Potter 34 tesy oftheauthor. software. Photocour- Rhinocerous CAD variable. Screenshot, shot), 2016.Dimensions Loop InTime(process RIGHT: Bill Holderfield. and glaze. Photoby able. 3-Dprintedclay Dimensions vari- Loop InTime,2016. LEFT: PRINTING | Studio Potter Stacy JoScott. Stacy JoScott. lution. Entities, suchasclay, hesays, “have material andbodyastheresult ofourcoevo what itmightallowustodo. hands; ittellsussomethingofits nature and ofthemoistureit acceptssomepart ofour clay touches us, itconformsitselftoourshape; of atree, we feelthetree touchingus.” reciprocity tothesenses;aswe touchthebark active agents. He says: isanintimate “There of touchasareciprocal exchange between Spell oftheSensuous,hedescribesmoment the formationoflanguage. In hisbookThe cognitive theoristexaminingperception and ing ourencounterswithit.David Abram isa can achieveinthefire. level ofplasticity orthestagesofvitrificationit contribute totheclay’s wisdom,itsparticular material makeup ofthemountainside. These Abram describesthis intimacybetween The materialmay infactbeactiveshap 1 As the As the

- - precision theprogram we lay outforit. how we planit to. It doesnotfollowwith ity, grace, It inertia. behaves differently from changes overtime:wear, breakage, malleabil other bodies, responds totouch.It experiences weight, shape, smell.It movesin relation to rial, experiencedthrough thesenses. It has what itmeanstobeabody. stories ofcreation ortheCreator, butshowus humanity inclay intuitsthis. These are notjust the samesource andthesamedeepgenealogy. familiar inthesematerialsbecausewe share that ofourownflesh.” led intoaninexhaustibledepththatechoes rhythms, andinengagingthemoursensesare are composedoflayers uponlayers ofearlier theirrhythmsthe shiftingearth; andforms coevolved, like ourselves, withtherest of Caroline Walker Bynum conductedresearch The commonmythology ofGodcreating 2 We feelsomething The bodyismate - - survival.” and resin, aswell aspain,perception, and body’ was toexplore starsandstatues, blood Understood in medieval terms, toexplore ‘the or cadaver, aswell aslivinghumanbeing. mean ‘changeable thing’: gem,tree, log, “Medieval theorists...understood ‘body’to iment andmateriality. According toher, these intuitiverelationships between embod- into theways medieval Europeans approached an innatewisdom,too, butonethatdiffers existent inothers.” sense thattheywere porous insomecases, not to break downsuchboundariesbutfrom a says, they“operated notfrom amodernneed and whatisperceived AsBynum tobeinert. lines between whatis perceived tobeanimate take forgranted today, distinctionsthatdraw between bodiesandmaterialsthatwe often The machines of digital fabrication have The machines ofdigitalfabricationhave 3 This outlook avoids distinctions This outlookavoids distinctions 4 that neverexactlyrepeat themselves.” rhythms… allcomposedofrepetitive figures composed oflayers uponlayers ofearlier this way: “Nature’s rhythms andformsare natural world, whichAbram describesin to themeansbywhichformsaccrete inthe own logic.This closedprocess liesincontrast but itremains closed,static,sealedwithinits the object.There islifeintheselinesofcode, ity thathadbeeninterrupted bythehand. down, theywouldattempt tofollowa regular in thecode. Assubsequentlayers were laid from the objectmightfallapart thisdeviation to touchtheclay whileitwas beingprinted, seems tobesuspended.If, forexample, Iwere ship between thebodyandmaterialofclay becomes awitnesstoitsprocess. The relation - code becomesclosedtothecreator, whothen conventions. Oncesenttothemachine, the of themachinecontainssetparameters and ate knowledgeheldinthebody. The code mimicofthecomplexandimmedi- crude performed bythemachinecanbeseenasa material qualitiesandgravity. algorithms thatare seeminglyuntouchedby inside thescreen relies ona spaceordered by they are produced bythemachine. The zone only existasavisualizationonscreen before remove material. The objects that they produce machine howtomoveandlay downor them intheformofcode. This codetellsthe language, sentto followinginstructions rials. These onamore machinesrun abstract in many ways from thatofbodiesandmate them tochange. gives natural formsaresilience thatenables thislackofperfectrepetitionpartially that The repeated linesofcodeaccrete toform Despite itsprecision, thecodethatis 5 It is

- - might nottoucha3-Dprintwhileitis using digitalfabricationispassive. Although I the materialtobringitlife. Clay’s specific the logicofmachine. The coderelies on or glitch.The idiosyncrasies ofclay interrupt reflected through materialnuance, chance, ing order ofthemachine, thatissometimes ment, editing, orsculptingitallows. of materialproperties, whattypes ofmove of thelanguagecodeandhasitsownversion together. Eachsoftware speaksits owndialect orpatching requires ofmaking-do itsownsort ently untouchedzoneinsidethescreen, always reanimated. The software itself, theappar what’s on hand,orsitidlybyuntiltheyare sometimes cobblethembacktogetherwith diagnosetheproblem,pull themapart, and They frequently failandrequire someoneto rely onthepainstaking, precise calibration. the digital.They are fallible, vulnerable. They to theimmateriality oftenassociatedwith hands ofamaker. cate theslowcircling ofaform,rotating inthe the wheelisalsoamachine, designedtorepli- the emerging contourofapot.And, ofcourse, adjustments my fingersmadeastheytraced spinning oftenoutofcontrol, andthetiny The thousandsoffactorsworkingintandem, most reminded oftheyears Ispentasapotter: ing, butthewheel.While3-Dprinting, Iam of3-Dprintingisnotcoilbuild- corollary produce theresult Iamlookingfor. The closest clay, requires fineadjustmentstothecode print nexttime. Eachtype, eveneachbatchof about howImighttweak itscodeforabetter ing, Iamwatching itintentlyforinformation This doesn’t meanthebodyofmaker Clay offers abreak from theunderly fabricationmachines donotconform Digital - - - - our senses.” and theirquietdynamismresponds directly to of apattern thatwe ourselvesdidnotdevise, carry, like ourbodies, thetextures andrhythms of thecardoorwe leanagainst—allthesestill building isfashioned,thesmoothmetalalloy pole, theclay ofthebricksfrom whichthe describes, tree ofthetelephone trunk “The toitsforms. memory AsAbram bring sensory histories, cultural, personal, andgeological, conveyed through mathematicsandphysical stood thatiftheforces of theuniversecouldbe neered tomimichumanaction.It was under These machines, like 3-Dprinters, were engi- machines hasaprecedent inearlyautomatons. from thinair, like magic. unseen worldandproduce objectsseemingly becomes form.These machinesreach intoan literal. Idea becomes language, becomescode, In digitalfabrication,thatimpulseismade language, anactionasoldcivilization. impulse: tomaterializeanideathrough machine isperformingamostbasichuman My feelingsmay comefrom asensethatthis isn’t explainedaway byanappealtonovelty. It inmethat evokes somedeepermemory wonder, andevensomedegree ofuneasiness. action mesmerizesmeandevokes asenseof such aslasercutters andCNCrouters. Its with, evenotherdigitalfabricationmachines, than whatoccursinmostmachinesIinteract involved, someshiftthatismore significant There seemstobesomeuncanny action materializes through thissimplemachine. The objectthatwas onceonlynumericcode simultaneously sofamiliarandstrange. am oftencuriousaboutwhy theiractionfeels This connectionbetween unseenforces and In spendingtimewith3-Dclay printers, I 6

- PRINTING 35 | Studio Potter 36 Al Jazari,c.1206. Devices byIs’mail Ingenious Mechanical Book ofKnowledge RIGHT: P Westphalia, Germany. Abbey, inNorthRhine- the churchofEssen Cathedral, formerly sonné enamel. Essen Wood, goldleaf, cloi- C.E. 29inchestall. of Essen,c.980 Golden Madonna LEFT: PRINTING | Studio Potter Medieval statue, Medieval statue, age from the age fromthe expressions ofGod’s will.” pleasurable becausetheywere conceivedas play outtheircapriciousmovementsthat were water butasconduitsallowingtheseforces to could control the natural forces ofairand to showhoweffectivelyandefficientlyone devices needtobeunderstoodnotasmeans Nadarajan says ofAl-Jazari’s designs, “these Mechanical Devices. Historian authored TheBookofKnowledge ofIngenious Islamic Renaissance,the 13th-century who the workofIsma’il Al-Jazari, anengineerof the maker closertoGod.This isreflected in science, thenthesedisciplinescouldbring genius oftheirengineers, thesedeviceswere ing merely mechanistic needs oraffirmingthe 7 Ratherthanfulfill Gunalan Gunalan - more literal sense. They were notlike life;they writes, “Medieval cultobjectshadagency ina forhumanity.we usuallyreserve AsBynum als thuscametosignify apower andagency relics bytheworshipper. Objectsandmateri- in materialssuchasaclothtouched toholy grace became immanent inholyartworks or per, statuescouldmoveandweep, anddivine disembodied God.To themedieval worship often countertothesanctionedaccountsofa a hallmarkofpopularreligious practice, transcendent is embeddedinmaterialwas eval European religion. This ideathatthe the underlyingforce oftheuniverse, orGod. seen as a medium through which to connect to This recalls Bynum’s research onmedi- - ical objects.” received anddescribed,theyare fullofphys- content is highly somatic and material. Both as well. Bynum writesofsuchvisions, “Their val ecstaticreligious experienceofvisionsas transcendence was reflected inthemedie them. AsAbram says, “If thesurroundings are how we usethem andperhapshowwe make of thislivinguniverse, we may take more care rience machinesasclosetoour bodies, aspart world ofdirect humanexperience. If we expe of thebody:living, breathing, transient numbers, of the machine, backintotheland wheel. the burnishingrock, thegourd mold,thekick fabrication toolsbelongnexttoearliertools: unseen, therealm ofcode. In thissense, digital and animatestherealm ofthenuminousand resonant presence, thatgrounds, materializes, materiality thatgives3-Dprintedobjectstheir from ofhumankind.It earlierartifacts istheir of digitalfabricationare thusnotsofaroff whether itbevisionorcode. The artifacts immaterial. We bringformtotheephemeral, we humansandourmachinesmaterializethe “saw, heard, tasted,touched.” tory, gustatory, andtactileaswell.” …She theGreat, “theof St.Gertrude ‘vision’ isaudi- body. AsBynum describesonefamousvision were rooted inthesensualexperienceof a transcendent encounter, theseexperiences an ephemeral understandingofGodthrough their materiality.” lay notintheirnaturalism orsimilitudebutin animated. It seemsthattheirlifeoragency or bone, bread, wine, bitsofwall orpaint (at leastsometimes)lived...Piecesofwood This connectionbetween materiality and Digital fabrication brings the logic of fabricationbringsthelogicof Digital As makers andtransformers ofmaterial, 9 Rather than relating solely to Ratherthanrelating solelyto 8

10 10 - - mindful andrespectful.” ful, thenImusttake care thatmy actionsare experienced assensate, attentive, andwatch- of amore complexviewofhumanity thanthat This idea formsthebasisforherconception machine isinextricablefrom embodiment. in her1985“Manifesto for Cyborgs” that the feminist theoristDonnaHaraway suggested transcendent divineasembeddedinmaterial, bodies are oftenforgotten. ships, ofcommerce andpolicy, where certain inextricable from aweb ofhumanrelation- remembering the ways inwhichmachinesare to ourhumanity, butitisalsofoundationalto tobringitcloser the machinenotonlyserves founded.” whose labortheactofforgetting thebodyis of ourforgetting; thatistosay, thoseupon bodies whosespeechissilencedbytheact that hasunpleasantconsequencesforthose about thebodyisanoldCartesian trick,one “Sandy” Stonecautionsthat“Forgetting Allucquéreand performanceartist Rosanne tion, andcapitalitrelies on.Media theorist that maintaintheflowsofelectricity, informa- recycle, mold,andassemblethem,those dependonthebodiesthatmine,nevertheless contain lessdirect reference tothehandbut from metalandplastic.These materialsmay do. cating responsibility forwhatwe askthemto distance, thisgulf, canbethelocationofabdi- that humansare separate from machines, this If tion ofthepotentialart. we maintain aligns withourethics, ourvalues, ourconcep for determininghowwe usethem,whetherit cated inourethics. We becomeresponsible our humanity, thenourmachinesare impli- Just asmedieval theoristspositionedthe The machine itself is an object fashioned The machineitselfisanobjectfashioned 12 Remembering themateriality of 11 If they are of part - skin?” She asks, shouldourbodiesendatthe “Why experience.understanding ofcontemporary the possibility ofmovingtoward abetter this more complexviewofhumanity opens organisms andmachines.” many otherdistinctionsthatusedtoapply andexternallydesigned, self-developing between natural mindandbody, andartificial, made thoroughly ambiguousthedifference machineshave She says, “Late20th-century bymanysuggested ofhercontemporaries. us, anaspectofourembodiment.” ofit,“thethe machineaspart machineis sense ofembodimentlarge enoughtoaccept connection tonature, sheseekstoreclaim a “...about contradictions thatdonot resolve into Haraway describesthis conditionofparadox as is revealed through thismateriality. Donna materiality of clay and ourbodiesandyet themachineappearsforeignthat runs tothe a paradox. The abstract languageofcode nate from thesamesource. are withoutdifferentiation, butthattheyorigi- doesn’t meanthatthemachineand thehand rooted inwhat itmeanstobehuman.This through material, andthustheyare equally both enablethemaker toreflect theirvision ing itatthewheel.The machineandthe hand modeling itinsoftware, aswhenI’m throw ofaformisaspointedwhenIam ular curve coil-build it.And my sensitivity- tothepartic in clay whenI’m 3-DprintingapotaswhenI machine. My handsandapron getascovered it signaltheabandonmentofhandfor It doesn’t signalareturn tothehand,nordoes predicated oncomplexity andcontradiction. understanding mightgenerate awholeness Rather thanseekingtoreclaim aforgotten The artifacts of digital fabrication reveal The ofdigitalfabricationreveal artifacts 14 13 She suggests that that She suggests 15 Such an Such an - all are necessary andtrue.”all are necessary incompatible thingstogetherbecausebothor larger wholes...about thetension ofholding of human and machine opens up other of humanandmachine opensupother separate from otherfieldsofstudy orwork.” is perceived world,thisbeing thatart oftheart dismantling thestereotypes thatmay oftenbe gender stereotypes andnormsbutalsofurther simple exposure toitisnotonlydismantling to beexposedtechnologylike this. The stereotypes, Ifeelthatitispowerful initself tomeetthesegender gets pushedintotrying Asawoman who is mostlymale-dominated. world,which esting journeytonavigate theart woman ofcolor, itcanbecomequite aninter so powerful becauseasawoman,letalone institutions, spaces, andidentities. I find this to infiltrate systems, orinotherwords, other is argued thatthiscyborg identity ismeant tice. Onestudent,Melissa Reyes, wrote, “It identity, andintheirapproachprac toart - in thefieldofceramics, butintheirsenseof broaden theirideasofwhatispossiblenotonly ceramics techniquesallowsthesestudentsto cation technologiestogetherwithtraditional class atUC-Berkeley. Weaving digitalfabri- in my DeepTime ofCeramic Technologies This issomethingI’vewitnessedinstudents positioned outsideoftraditional dualisms. to make spaceforexperiencesthat have been relationship totechnologieshasthepotential tools toourselves.” which we have explainedourbodiesand “suggest away outofthemazedualismsin liesinitsability,this imagery assheputsit,to arrangements binary to flourish. The power of omy toanewmodelthatdoesn’t rely onsuch deliver usoutsideofthebody/machine dichot This release from separation thebinary This more complexunderstandingofour 17 17

16 Such thinking can Such thinkingcan - - Instagram: @sdotjo stacyjoscott.com [email protected] range ofpublications. has appearedinawide tionally, andherwriting nationally andinterna- has beenexhibited embodiment. Herartwork culture, identity, and shifting landscapesof from whichtonavigate tal processesasanchors ceramic objectsanddigi- and writing,sheuses Berkeley. Inbothartwork University ofCalifornia, taught previouslyatthe University ofOregonand professor ofartatthe is currentlyanassistant Eugene, Oregon.She and educatorbasedin Stacy JoScottisanartist BIO PRINTING 37 | Studio Potter 38 PRINTING | Studio Potter fallibility. evoking human incomplete, the gestureis to replicate the attempt gesture, mudra; the spiritual Hands setin polylactic acid. 3-D printed Innovation; of Design Jacobs Institute 2015. 3x3x5in.  Print Fail, is always inthehorizon.” and hope. That is tosay thatqueerness is, inhiswords, “primarily aboutfuturity Esteban Muñoz’s positsaqueernessthat ments wouldassume. is farmore vast thantraditional allot only temporary, andpotentialexperience and thecyborg knows, thatseparation is experience, theyperformwhatthequeer machines intotheirsoftspaceoflived and identities. Asclay andbodiesinvite and fastdelineations, between categories bounds ofwhatwere assumedtobehard experiences thatwaver ontheliminal evasive ofdefinition,offersanameto experience. Queerness, evershiftingand hidden, withinmuchofcontemporary reflects aqueernessthat rests, sometimes of humanexperience. Such multiplicity avenues ofexaminingthemultiplicity this visionoffuturity doesn’t seekto While abandoningtraditional borders, a more complex,joyous, andjustworld. canopenspaceto boundary-dissolving seeks toimaginetheways inwhichsuch In hisbookCruising Utopia, José 18 This idea This idea - but isalready embeddedinus. in 3-Dprints. Ourfuture isn’t foreign earliest pinchpots, andfolkpractices can findtraces ofthecyborg inthe evolved withus. In thispresent, we hands, andthe machinesthathave through time, through theclay inour that we canreach backandforward potential ofourpresent momentis but acontinuallyrecurring event.The a record from toadvanced, primary shift.This shiftingpath is notevery technologies have followed humanity’s an evocativescribeofitsmoment.Its through time. Clay hasalways been bodies andmirror ourown evolution the worldswe nowinhabit. dictory, asriotousandastonishing, as might becomeascomplexandcontra- our bodieswithmachines, ourpractice that, inconsideringtheintimacyof vision.” backward glancethatenactsafuture borrow aphrase from Muñoz, thisis“a rience andthebody’s potential.To Clay’s methodsare situatedinour 19 This future visionsuggests tion ofhumanexpe from generation to us connect skills that devotion tothehand doesn’t contradict a abandon thepast.It generation. Instead, and shared tech- inclusive imagina- nique withinan this viewseeks based wisdom to situatebody- - 12 11 10 Ibid.,p. 103. 18 17 Ibid.,p. 37. 16 Ibid.,p. 28. 15 Ibid.,p. 36. 14 13 19 1 NOTES 3 2 7 6 5 4 9 8

Abram, David, TheSpelloftheSensuous: Division ofRandomHouse,Division 2017, p. 268. Human World. New York: Vintage Books, a Perception andLanguageinaMore-Than- (Cambridge, MA:MITPress, 2015)p. 32. EuropeAn EssayonReligioninLateMedieval , knowledge-ingenious-mechanical-devices ic-automation-al-jazari%E2%80%99s-book- via: http://muslimheritage.com/article/islam- MA: MITPress, 2007)pp. 163-178. Accessed Art Histories, editedbyOliverGrau, (Cambridge, Ingenious (1206)", Mechanical Devices in Media Reading ofAl-Jazari's The BookofKnowledge of Trend, (Malden, MA:Blackwell, 2007)p. 30. in ReadingDigitalCulture , editedbyDavid (Cambridge: MITPress, 1992) p. 118. First Steps,editedbyMichaelBenedikt About Virtual Cultures,” inCyberspace: Stories Body PleaseStandUp?: Boundary New York University Press, 2009)p. 11. Then andThere ofQueerFuturity, (New York: Nadarajan, Gunalan,"Islamic Automation: A Ibid., p. 284. Bynum, Materiality, p. 282. Ibid. Ibid., p. 102. Abram, Sensuous,p. 64. Abram. Sensuous,p. 69. Caroline Walker Bynum, ChristianMateriality, Ibid., 64. Donna Haraway, “A Manifesto forCyborgs,” Allucquère Rosanne Stone, “Willthe Real Ibid., p. 36. José EstebanMuñoz, Cruising Utopia: The Ibid., p. 4. sense ofserenity inanotherwisefrenetic existence. Even in nology? Simplyhaving one’s handsinclay canengender a that presents itselfasanalternative to contemporary tech toward clay as amediumprecisely becauseitisamaterial company. How many andcraftspeople artists gravitate wouldn’t bethefirst to hearthis,andyou would beingood a slightlyoff-kilter, humble,anddignifiedtea bowl. You it would like, more thananything else,to be fashioned into answer. clay whatitwants to be,andyou won’t get asimple ASK TO BE, CLAY? BE, TO WHAT DOYOUWANT BY TOM LAUERMAN Listen to clay, andyou mighthearitdeclare that - new pathways wherever they lead. preserve its history of use while simultaneously pursuing turns up? Ceramic material hasclearlybeenmoonlight explain the places where clay, whether raw or cooked, else, to beenigmaticandunknowable. How elsecanwe to be pigeonholed. Clay may want, more than anything a desire to besomethingelseentirely. Clay doesnotwish the present momentisnotatimeofcalm. times ofcalm,itcanbehard to get ourselves centered, and tions aboutitspredilections. and itmightremind usnotto make too many assump these types ofart/science collaborations . remain curious,even whilewe remain cautiousregarding pulling your perspiration into itsporous body. Yet clay may rolling itinto anelasticsausage anditclingsto your hands, techniques ofanotherdiscipline? improved ifyou increased your proximity to thetools and curator, would thequality ofyour interactions withclay be tion necessary? Asa sculptor, potter, collector, critic, or ies. Insodoing,we might askourselves, isthishybridiza working across, among,oragainst disciplinaryboundar ourselves in a hybrid space—part studio, laboratory, part and science andcomputation anddesign? We mightfind where would we move to, ifwe were to slipbetween art well—as craftspeople, artists, designers, engineers. And move thisfluidly, perhapswe canexhibit more fluidity as ing, material science, andcomputation. Andifclay can the context ofcraft, anddesign,yet art, alsoinengineer come to agree thatclay candoanything, iscomfortable in lacks creativity? disappointed? Doesitsteel itselffor aninteraction that technicians rather thaninanarcadian pottery studio, isit lie? Whenclay findsitselfamongwhite-coated laboratory lent, buthow canwe investigate where itsown preferences paste andskincream. We can agree thatclay ismultiva military armor;inthegrocery store, slippinginto tooth the earth’s atmosphere; onabattlefield,castinto dense ing outsidethepottery studio:onasatellite coiling around Listen to clay again, however, anditmay reveal to you Clay may tell you thatthisisnotnecessary, asyou are As clay describestheplaces ithasbeen,maybe we can

Clay mightencourage usto Listen to clay, ------– says: ‘Ilike anarch.’’ think ofthat, brick?’ Brick then you say: ‘What doyou use aconcrete lintel.’ And are expensive andIcan want one, too, but arches you say to brick, ‘Look,I you, ‘Ilike anarch.’ And brick?’ Andbrick says to

LOUIS KAHN LOUIS ‘What doyou want, You say to brick, PRINTING 39 | Studio Potter 40 PRINTING

| Studio Potter 4. 3. 2. 1. NOTES google.com/patent/US5121329A/en expired in2009. https://patents. 3-D printing. The patent,US5121329A, publicly traded corporation focusingon subsequently foundedStratasys, alarge was patentedbyS. Scott Crump who Filament Fabrication). This process or FDM(alsoknownasFFFFused called Fused DepositionModeling, ble meansof3-Dprintingisaprocess designer andtechnologistJohn Maeda. Yakman and popularized byAmerican was created bytheeducatorGeorgette formulation. The STEAM formulation theArts intotheoriginal ing toinsert the 1990’s. STEAM isavariation seek the National ScienceFoundation in Mathematics. The termoriginatedin Technology, Engineeringand the academicdisciplinesofScience, for replicating rapid prototyper. orators worldwide. RepRap isshort now madeupofhundreds ofcollab most ofitsowncomponents, but itis low-cost 3-D printerthatcanprint of Bath initiativetodevelopa in England 2005asaUniversity pottery. https://goo.gl/mGpfPu coding, welding, knitting, andyes, processes asdisparate ascomputer has engendered renewed interest in as 3-Dprinting, themaker movement on newtechnologicalprocesses such defined. Originallyfocusedprimarily renewed interest in“making” broadly describes abroad cultural shifttoward

The RepRap project started The mostwidespread andaccessi- STEM isanacronym combining The term“Maker Movement” - - particular strainparticular oftechnology whichhasquietlyingrati research strategies. Our focus here, however, will be on a our ancientmethodologiesandcontemporary scientific questions, amongothers, may reveal connections between insulative efficiency, andenvironmental viability?” These the mostsignificantrecent advances inrenewable energy, tal distress, are ceramic studiosandlaboratories using ability technology, asking:“Inatimeofglobalenvironmen ancient processes ofceramics through thelensofsustain andvicethe studioartist, versa?” Oronecould lookatthe could ask:“Whatcanthefieldoftechnical ceramics offer ing pointfor engagement withthematerial sciences. You processes oftheinformation age? Ifso, where dowe begin? shouldengagesome artists with the emerging tools and era inwhichthey were created? objects thatreflect uponthetools andprocesses ofthe maker, designer, orengineer, are you compelled to make craftsperson, begins withthisquestion:As an artist, to make thecasefor keeping clay free ofsuchcomplications. treated like somuchextruded information? Itmay beeasy of handsonclay for amodeofworking in whichtheclay is forced uponthem? Are you eager to trade thedirect touch with computer-guided processes thatotherfieldshave had your creativity. After all, why would you engage by choice exercise your freedom to disregard thisdigitalmediation of vocably altered inthisera. Ofcourse, you asanartist can ing architecture, design,andengineering,have beenirre more recently become essential in design professions, while about inaceramic studio? these processes have come to findthemselves lurking processes of 3-Dmodelingandprinting. most acutely felt inclay studiosworldwide viathetwin physical materials, digitalfabrication makes itspresence Spanning a wide range of computational processes and the world, thetools and processes of digital fabrication. ated itselfdeeplyinto clay studioslarge andsmallaround by information technology. Numerous professions, includ traditional modesofindustryare increasingly supplanted One could lookattheformulation ofclay asastart A counterargument, however, ispossible. Onethat Emerging inthelate 1970s, 3-Dmodelingsoftware has We findourselves inaso-calledinformation age wherein Can we agree thatatleast How is it that How isitthat ------the astonishing potential for exchange between applica familiar history. Drawing inadigitalenvironment enables these computationally oriented processes withinamore and programming are modesofdrawing, we canground one thatdoesisdrawing. Ifwe agree that3-Dmodeling 12,000 years. Few andcraft art processes precede it, but in microns. How oldisthecoil buildingprocess? At least being usedandeven ifthediameter ofthecoil ismeasured describing issimplycoil building—regardless of thematerial it mightappearatfirst glance. After all,the activity we are of hispioneeringprinted pottery andsculpture. build clay printer viaworkshops, web posts,andexhibitions work andhelpedpopularize aninexpensive andeasy-to- Jonathan Keep oftheUnited Kingdom builtuponUnfold’s hype thatattends theearlyphasesofmuchtech adoption. much intrusionfrom commercial interests orthecultural printing, whichhassteadily gathered momentumwithout wave ofadhoc,open-source DIYexperimentation withclay Dries Verbruggen andClaire Warnier of Belgium,initiated a 3-D printer for clay printing.StudioUnfold, madeupof around 2009, intrepid designer/artists adapted anearly proliferate incommunities large andsmall. movement” related digitaltools, helpedgive riseto aburgeoning “maker ment, notonlywith3-Dprintingbutalsoarange of enthusiasts. The ensuingwave ofenthusiasmandengage ate, andshare designsamongstanexpanding community of 3-D printingtechnologies expired, spread usethisdecadeasthefoundational patents around drawings become ouressential means ofcommunication. in adjoiningprofessions andothersafield,these further communicate beyond ourown chosenfieldswithpartners tions created for entirely disparate disciplines.Ifwe are to STEAM disciplines ues to befelt aseducationalinitiatives around STEM or project than one thousand dollars, and the open-source “RepRap” printer dropped from tens ofthousandsdollars to less 3-D printing,pioneered inthelate 1980s,hasfound wide 3-D printingwithclay isbothmore andless complex than Just as consumer-level 3-D printing in plasticemerged, As inanalogapproaches to drawing, acomputational 2 empowered makers globallyto design,build,iter 3 whoseimprintonthebroader culture contin 4 and as“making”“makerspaces” 1 the cost of obtaining a thecost ofobtaininga - - - - - CLAY ulates emitted inthisprocess are problematic. ing bodyofenvironmental testing indicates that the partic to melt a filament which can be drawn into a form. A grow Plastic printingrelies combustion onthepartial ofpolymers most commonly associated withadditive manufacturing. readily, favorably, and safely than have the plastic materials with thisprocess ofminiaturized guidedcoil buildingmore stoneware, orporcelain, we canargue thatclay hascomplied running through coded instructions. the entity theextrusion performing and coiling isarobot responds enthusiastically and affirmatively, even when one objectto orfrom anotherviaBooleanalgebra; “grow counterpart inthephysical world: subtracting oradding tal tools allow thecreation ofform viaprocesses with no uous scale.Unlike analogapproaches to drawing, digi engineer to develop form withoutgravity andinanambig environment allows craftsperson, theartist, designer, or extruded? Would you like to becoiled?” responded to thisprocess. Askclay, “Would you like to be into exploring?” why would we embrace aprocess we are less thanten years more thanten thousandyears ofworking withclay by hand, mass, density, andtexture. We mightaskourselves, “After space ofcomputation andemerge into ourstudiowith before we contemplate how to coax anobjectto exit the motion ofwater. variations; or animating the surface of a solid form with the ing” form astheresidue ofacoded scriptyieldinginfinite For a moment, let’s pause to contemplate how clay has Travelling from drawing to objectcanbedifficulteven Whether terracotta, 5 Incontrast, - - - - - in whichnofire-suppression safeguards are inplace tended, inhome,studio, classroom, andlabenvironments ers, and engineers who have pursued the development ing andtheadhoc network design ofenthusiastartists, material costs, and large-scale potential favor clay print on thesideofthoseindustries,while environmental factors, inresearchstart and development. Funding andtiming are developers. Printing inplastichasaseveral-decade head printer manufacturers, material producers, andsoftware between clays andplasticsbecomes. clay gets, themore extreme thedisparity inmaterial costs the processes of3-Dprinting.The larger aprinted objectin dollars. Cost aswe isimportant consider how to scaleup printing medium and knock that cost down to exactly zero course onecould forage clay andprepare itfor useasa it isless thanfiftycents perpound, possibly muchless. Of dollars perpound.Whatdoesyour clay cost? Chances are and you canseethatcost risingwell over onehundred tic materials. Getinvolved inprintinghigh-resolution resins, per pound isclose to ten dollars for thevery cheapest plas contains onekilogrampounds) (2.2 ofmaterial, sothecost tremendous expense. However, keep in mind that the spool so onemightspendonaroll ofplasticfilamentisnota combusted). We mightagree thatthetwenty dollars or nential cost increase asmore plastic is used(andpartially an unusuallylarge machine,ittriggers analmostexpo these dimensions? Would you bewillingto constrain your creative practice to and designto findobjectslarger thansixto twelve inches. have to looktoo far into thehistory ofceramics, sculpture, available affordable machinesfalling inthisrange. We don’t ofsweetsort spotfor theindustry, withthevast majority of 150mm (6in.)and300mm(12cubedhasemerged asa volume” (themaximumsize ofaprinted object)ofbetween enthusiasm for 3-Dprintinghasgrown, acommon “build and 300°C(572°F) for many hours unat atatime,often upon heatingelementsoperating between 180°C(356°F) air quality, consumer-grade plasticprintingisdependent no combustion Inadditionto theimpacton particulates. clay doesnotneedto beheated to beextruded andemits Printing inplastichasspawned aglobalindustryof But scalingupwithplasticprintingrequires more than 6 . As . As - - - - - 6. 5. sis-finds-a-surprising-culprit/ halts-and-catches-fire-analy com/2018/03/18/3d-printer- 80/02786826.2017.1342029 tandfonline.com/doi/full/10.10 potential toxicity.” https://www. gineered of nanoparticles - high concentrations ofnon-en as children, canbeexposedto susceptible populations, such general publicandparticularly and personalresidences, the often usedinpublicspaces “Because 3-D printers are “Because 3-Dprintersare https://hackaday. PRINTING - 41 | Studio Potter instagram: @tom_lauerman tomlauerman.com at Penn State University. Digital Design,andCeramics Professor ofStudio Art, Art andservesasAssociate from CranbrookAcademy of design. Tom receivedhisMFA cation andcomputational approaches todigitalfabri- develops experimental An inveteratetinkerer, he unbuilt architecturalforms. homage tooverlooked or whose workpresentsan Tom Lauerman isanartist BIO 42 PRINTING | Studio Potter essential inmakingtheseprocesses work, may also feel whose tinkering withclay bodyandglaze composition are vantage the skilled modeler of clay? The material scientist, it also, however, holdthepotential to significantly disad process. This empowers theskilledcomputer user. Does do so. This ourfocus shifts onto thedesignphasesofour to an automatedcan be left robot, if you should choose to tantly, theproduction oftheobjectin clay isaprocess that ation from prior modesofshapingmaterial. Mostimpor its own properties and,insomeways, represents adevi process ofcoil building? something new? Oristhisamodificationoftheexisting tool? Oranotherprocess? Oranotherinstrument? Isthis niques, are we now addinganotherfamily? Oranother for millennia.To thoseexisting families offorming tech more pliableandforgiving witheach cycle ofrenewal. “new” batches ofclay, whichare likely to beincreasingly local clay studio’s reclaim binisendlessly reformulated into of un-recyclable printfailures lurkingnearby, whileyour comparison. Your localmakerspace invariably hasboxes nents. Even theinevitable printfailures raise aninteresting difficult to fashion into food-safe orload-bearingcompo ucts favor clay similarly, asprinted plasticsare exceedingly smooth” printed surfaces. Comparisons ofend-useprod ever-more-toxic compounds meltor“vapor to partially cessing ofprinted plasticsinvariably includestheuseof ing process has taken place. By comparison, the post-pro post-processing, theprint ortheshapingofobjectafter Clay lendsitselfextraordinarily well to whatisknown as itself asamaterial thatisnotonlyfamiliar butalsointuitive. young andoldencountering thesespaces, clay presents in thecomplexities oftheprocesses. For beginningmakers tools in quantity and are well-placed to educate enthusiasts ties, libraries, andcommunity makerspaces possess these ume purchaser) ofthistechnology. K-12 schools,universi emerge significant adopter (and high-vol as a particularly consciousness, we have seentheeducationalmarket corporate benefactors. of clay printingintheshadows, withoutthebenefitof Let’s consider this.This tool, process, orinstrumenthas A variety ofapproaches to shapingclay have existed As 3-D printing has found its way into the public ------into familiar patterns of making,arrived atviaa new route? vocabulary. Otherwise,are we indanger of simplyfalling the development ofalexicon ofform thatexpands our Fourth Industrial Revolution, we shouldagree to focus on revolution. Perhaps, aswe enter whathasbeen calledthe century upended thehierarchy ofmakers inthe industrial industrial mold-makingtechnology ofthelate eighteenth to adopt mass-customization. We should remember how drive down thecost ofskilledlaborinamarketplace eager of pottery, sculpture, and design. Itcannotonlybeto further to remake the forms we are familiar with from the histories ideal use-casefor thistechnology? Surely itcannotbeonly multitude ofcomplex forms andfunctions. nologies. Highlyattunedmaterial formulation may unlocka also find themselves well particularly suited to these tech process oftesting glazes anddeveloping clay bodiesmay are compelling. Those amonguswhosavor theintricate and manufacturing and,mostimportantly, concepts that material behavior, aknowledge ofcomputer-aided design clay willbethosewhobringtogether aknowledge of er-guided, additive coiling processes of3-Dprintingin designers, andengineers whowillbestutilize thecomput tools, notseekto replace them? this process shouldaddto thetaxonomy ofclay-shaping peace with photography, embraced it even. Can we agree son. Maybe just a brief pause. After all, painters have made mind. This may give andthecraftsper pauseto theartist ronment mostlikely created withdesignprofessions in mination ofform istakingplace withinamodelingenvi greater depththesetoftools thatcreate forms. The deter other reason thanthatthedesignerhastypically engaged in for thedesignerthanfor orcraftsperson, theartist iffor no are discussing holdsabroader appealandmore potential speculate tentatively thattheconstellation ofprocesses we to perform theprocess ofproduction. has theoptionofallowing otherpeopleorprocesses composer ofmusic,thedesigneraprinted clay object empowered by thesetechnologies. Like anarchitect ora What willyou use theseprocesses to do? Whatisthe craftspeople, And itisworth notingthattheartist, Who isthistechnology for? Intheseearlydays, we can - - - - - conducted in2018viaemailfor StudioPotter. kindred spiritsandspecialists. was This interview ally andoftencollaborate withavast network of ogy, They andart. exhibittheirworkinternation multidisciplinary background indesign,technol multidisciplinary contexts. The Antwerp-based duohave astrong financing, anddistributinginchangingglobal investigate newways ofcreating, manufacturing, Netherlands, todevelopdesignprojects that C BY BRYAN CZIBESZ WITH UNFOLD AN INTERVIEW X >CTRL+P Academy Eindhoven,inThe they graduated from theDesign founded Unfold in2002,after Verbruggen (pictured, thispage) laire Warnier andDries

- - PRINTING 43 43 || Studio Potter   is connectedtoa3-Dprinter. a laser;thedigitalpotter's wheel passing hisorherhandthrough away andelaboratesitsshapeby a computerscreen,theusercuts 2010 Asavirtualcylinderspinson Industries Fund,Netherlands. with thesupportofCreative Week 2014,anddeveloped exhibition atDutchDesign commissioned fortheKeyshapes collaboration withPenny Webb; Unfold andKirschner3Din and Archetypes,aprojectfrom 44 PRINTING Unfold's | Studio Potter “Caliper,” fromOfInstruments l'Artisan Électronique,

BC: ten whenayoung designstudentdrags a to make outofwood.” That isoftenforgot cannot make outofstone whatyou need what you shouldmake outofstone, andyou you tomake. You cannotmake outofwood want to make butwhatthematerialpermits Brancusi said, “You cannotmake whatyou ical materials, theirweight, smell,texture. collateral side effectsofworkingwithphys- experienced. We lovetheconsequences and as themediumonwhichdigitalshouldbe the digital, we rejected the notion of screens by themalleability andinteractive nature of rial world.Even thoughwe were fascinated on itsownlegsinahealthy community. today ithasgrown upandit’s fullystanding andtools.extruders We’re really happythat technology] alotanddevelopmany ofthose in theearlydays we hadtonurture [the RepRap project. Just asyou wouldachild, standing ontheshouldersofgiantslike the ceramic 3-Dprintingtous, butwe are also the initialdevelopmentofextrusion-based bird.) We appreciate thatpeopleattribute as well astwo rabbits, two fish,andone (Actually, we dohave two humanchildren so hopefullywe canorganize alittle party! U: 2019 is ofthis“child,” thetenthbirthday printing inclayformorethantenyears? to thematerialnowthatyou’vebeen3-D and howdoyouunderstandyourrelationship your workinclaybeforedirectprinting, clay 3-Dprinting.Howwouldyoudescribe We’ve fondofthemate always beenvery I oftenrefertoUnfoldastheparentof - - and material,howdoesyourwork continue notions oftherelationshipbetween body Électronique, forexample—disruptcommon ways thatsomeofyourprojects—l’Artisan scans ofthebody. Inconsideringthe has itsgenesisinaprojectthatinvolved BC: with trapped air inclay-printed objects. even thoughthere are alotoftiny crevices mentors). This turnedouttobeanon-issue, but were beingtoldthis“rule” bytheir understand theissueswithtrapped air to trapped air (mostlythosewhodidnot our printswouldexplodeinthekilndue ple, mostceramists toldusinitiallythat in specificmaterialdomains. For exam- burdened bytheoften-repeated mantras initially disparate domainsandnotbe enabling ustodraw newlinksbetween strength alsoliesinnotbeingspecialists, rial. We’re probably toorestless forthat. personally are stillnotmarried toonemate much better understandthat,althoughwe limited toonesetofmaterials. Today we how someonecouldspendtheirentire life As students, we foundithard tounderstand cation ittakes tocommitonematerial. mostly inappreciating thedepthanddedi- ing. Ourrelation tomaterialschanged We were doingceramics before 3-Dprint the richheritagethatmany materialshave. generic CADmodel. material texture from ontoa theirlibrary On theotherhand,we believeour We especiallyappreciate andplay with The nameofyourdesignfirm,Unfold, - - ments can then be used in an application ments canthenbeusedinanapplication measuring becomesmaking. These- instru out numbersbutwithaccurate precision; ect, measuringbecomessomething with- the objectneedstofit. Through thisproj- to anon-screen, digital3-Dmodelonwhich ical objectscanbetransferred inreal time tools. Using thetools, measurements ofphys- based siblingsandreclaim themasmanual tools meanttodisplacetheiron-screen, pixel- digital. They are battery-operated, wireless theirmethodofoperationtruth, iscompletely caliper, measuringtape, andprotractor, butin as asetofanalogmeasuringtools, suchasa and Archetypes, oftendescribedinthepress look atanotherproject ofours, OfInstruments body andphysical reality. digitalrealmephemeral, tothe hard-to-hold position 3-Dprintingasreconnecting the of theubiquitous“undo” command.We an immediatenesstoit,assistedbythelack for direct manipulation,forquirkinesswith we’re accustomedto, reopens thepossibility opposed tothecumbersomeCADinterfaces again,as of digitalgeometrieshands-on into thephysical again.Making thecreation opposite, tobringthedigitalrealm more intentionwas the hands dirty touse—our wheelthatyou don’tpottery needtogetyour two-button computergameversionofa l’Artisan Électronique inareductive way—a U: relationship toworkandmaterial? to engagethebodyorquestionourcorporeal This point is further emphasized when you This emphasizedwhenyou pointisfurther While it’s tempting toread aproject like your toolstowork? use tosomeoneelse. Howimportantismaking should notleavethemakingoftoolsthatthey Middendorp andhisargumentthatendusers Falmouth, England,in2014,youmentionJan at the AllMakers Now? conferencein and HisTools,” basedonthetalkyougave BC: question theirassumptions, Iguess? linesinourwork.Itblurry makes people brass tools. We always lovetoplay withthose shaping theobjectsasold-schoolwoodand obvious thatwe played withambiguity by and materializedby3-Dprinting. It’s rather be customizedwithexactmeasurements where archetypical, parametric objectscan desktop publishingrevolution. digitization inwhatisnowknown asthe (economically, amongstotherways) from tobenefit one ofthefirstinmid-eighties codes—not unlike ceramics. That [field] was tradition andasetofunwritten an age-old thinking intypeface design,adisciplinewith designers] tointroduce digitalnative true work. LettError was oneofthe first[type LettError, earlyinfluenceonour avery typographersdetails theworkofDutch designing andmaking. Jan Middendorp’s text a recurring themeinthosenarratives on oftools isdefinitely and theimportance sometimes labeledas“design aboutdesign,” what happensinthecenter. Ourworkis subject andhowthatfeedsinfluences happens intheperipheriesaround a U: We’re oftenmore focused onwhat Inyourarticle“TheDigitalCraftsman BC: source projects, such asRepRap orArduino. blocks are easy toacquire becauseofopen- have been abletoreplicate it.The building sion isafairlybasictechnique, soanyone would Manufactury.- Clay 3-Dprintingusingextru like theTransaction Project andStratigraphic has grown intoatoolthatwe’ve usedinprojects of others. To someextent,thecommunity itself level,bringingintheexpertise oration atevery feel thatwhatmakes more sensenowiscollab itive toopen-sourcing toolsattheuserlevel,we lematic. So while this might sound counterintu- narrow languageasaresult, whichisalsoprob by others, there isthepotentialforasimilarly our digitaltools, oncetheyare shared andused one’s owntools. Buteven whenwe docreate to unique toolmarks, which result from creating language thatdoesn’t allowforsomethingakin is problematic becauseitcreates ageneric handful ofcompaniesinSiliconValley. That tools—the creation ofcreative software—to a tools. Many endusershave relegated their ming skillsetthanthatoftraditional hand requires adifferent, more specializedprogram - aesthetics developedoverthelastfifteenyears? between toolsandoutcome? Your own standards inyourwork?Therelationship pottery. How doyouidentifynewaesthetic limitation tounderstandingform, oreven language ofthetool,andthatmightbea made onthewheelisdominatedby standards. Somepeoplearguethatpottery of workingshouldwarrantnewaesthetic Unfortunately, thecreation ofdigitaltools You championtheideathatnewways

- - PRINTING 45 | Studio Potter 46 PRINTING | Studio Potter about digitaltools. r still very mechanized production. Hisstatementis a tendencytoimitatehandicraft using was aresponse totheIndustrial Ageand new methodsofproduction.” This [idea] to thinkoutnewaestheticstandards for to theaestheticstandards ofhandicraft but problem isnot toadaptmachineproduction and Industry, in whichhestates, real “The comes from Herbert Read’s book Art 1934 U:  Charles Stern. copyright Viktor Sjödin; Photograph by blown glass. ceramics and 3-D printed Project, 2014. Transaction Unfold. Keep, and Stern, Jonathan Charles Charles That idea ofnewaestheticstandards The The elevant today, whenwe think not hidetheobjects’ digitallineage. The same simple polygon, tosuchadegree thatitdid (l’Artisan Électronique) was deliberately a ple, wheel theresolution pottery ofthevirtual er-mentioned focus ontoolmaking. For exam- themeconnectedtotheearli- important process, andthosetoolmarkshave beenan for thevisibility ofthetraces ofthemaking and intriguingatfirst. We’ve always pushed itself; itsbasicparameters andquirksare fresh initial fascinationforthelanguageoftool We believethatitisnatural tohave an that inthenext years. directions. We’ll probably see muchmore of ing toolmarksaway indifferent fascinating the machineandblurring thosescream- moving away from theinitialaestheticsof unconstrainedallow fortrue 3-Dcurves. printing, anddevelopingtoolchainsthat planar curves,” whichisessentially3-D of timebreaking outofthe“stack of2-D voice. Ontheotherhand,byspendinga lot clay and glazingtohave more oftheirown ing originsoftheprocess andallowingthe and simpler, exaggerating thecoilbuild- On theonehand,goingmuchrougher also beenpushinghard inotherdirections. we’re knownfor, butinthelastyear we’ve particular, thesmall,intricateobjectsthat a bore. the pastbutnowgetreproduced almostto interestingbeen exploredways invery in 3-D printing, like thelooppattern, have these techniquesthatare uniquetoceramic beginning. We’re atapointwhere someof familiarize thetoolmarkswe lovedinthe noticed theseoften-recurring patterns that have embraced clay 3-Dprinting, we have different ofthe maker spectrum parts individual object. between mold-reproduced objectsandthe more subtleapproach tothe confrontation with moldmakingandslipcasting, anda to clay thatstemsfrom beingmore familiar modeling. We may have adesignerapproach fections resulting from thefreehand digital clay outbursts, andthegeometricimper goes forthestriatedprintlines, theoccasional We seeothercreators inourcommunity I stillfeelwe have adistinctivestyle, in Today, asmore andmore peoplefrom -

 Kristof Vrancken. Photograph by porcelain artifacts. nine 3-Dprinted silkscreen print, wood box with 2.5 in.Maple 2016. 8x16 of aNewHistory, Unfold. PRINTING Artifacts Artifacts 47 | Studio Potter 48 PRINTING | Studio Potter of working? using 3-Dprinting,asopposedtoanotherway forms. Howdoyouapproachaprojectlike that in 2017thatinvolvedmaking300facetedcup was included in the catalog for the Vitra Design was includedinthecatalogfor VitraDesign How Tradition InspiresContemporaryMaking,” BC: tableware objects. outputandcommon between gallery-oriented our studio, althoughwe domake adistinction centrallying thaninproducing in everything method ofdistributedflexiblemanufactur in record time. We’re more interested inthis of theirmachinestobatch-produce thisorder and exchanged expertise, andtheyusedfour the Lutum clay 3-D printer. So we collaborated Vormvrij, acompany bestknownascreator of turned tothecommunity andworked with repeat theserial production experiment,we of thesecups, andsincewe didnotintendto speed changes, totoolpathchanges. range from audiocuesfortheoperator, to to reproduce aspecificobject. These changes print filethatcontainsthecodeforprinter the filling ofsyringesandinhand-optimizing especially inthepreparation oftheclay and to becompetitivewithcastingatthisscale, cost of production. It takes a lot of optimization We learnedalot,especiallyinregard tothe would thatcompare totraditional methods? manufacture somethinginseries, andhow economies ofscale:Whatwouldittake to interesting challengeandexperimentin considered theproduction of 300cupsan production orsalesofceramics, butwe U: BC: Recently we were asked toproduce 1,200 Our mainincomedoesn’t comefrom In 2015 your essay “Back to the Future: In2015youressay“Backtothe Future: You worked onaserialproductionproject

- becoming anewspecialization? Is digitalfabricationreinforcingdivisionsand marked shiftsinhowthingsarebeingmade? DIY digitalfabricationandmanufacturingtools professions. Howhasthedemocratizationof divisions inprocessesandtospecialized the wayobjectsaremanufacturedleadsto In theessay, youstatethatcomplexityin Museum exhibitionTheBauhaus#itsalldesign. in popularity overthepastyears, whilethe second evolution.Designeducation hasgrown that we recently cameacross describesa product. designed asanative3-D-printed it amanufacturingtool.The objectis thus printing asaprototyping tooltoconsidering this changecomesashiftfrom thinkingof3-D process toiterate andtesttheirideas. With they’re usingitextensivelyinthedesign as afinalmodelingraduation project, now expensive toolforsomethingspecial,such once studentsused3-Dprintingonlyasan material). This hasledtoashift.Where affordable print 3-D printers(aidedbyvery rapid proliferation ofaffordable, high-quality base skill.In thelastfive years we’vea seen For mostyoung designers, 3-Dmodelingisa extends tootherfields, suchasarchitecture. is mostlyfrom adesignperspectiveandlargely for theVitra DesignMuseum catalog, ourview fabrication, etcetera. Asexpressed intheessay scratch with3-Dmodeling, designfordigital had notrainingfrom andneededtostart difficulties ofdoingthat,especiallyif you of makingyour owndigitaltoolsandthe discussion whentalkingabouttheimportance and we’ve touchedonthisearlierinthe are atriskofbecominganotherspecialization, U: article byJustinA 2011Guardian article McGuirk We agree toalarge extentthatdigitalskills BC: traditional artisan. brought againstthe of theblowthatindustry individual studio, which is abitofreversal backtothescaleofan turing bringsindustry to seehowthisevolves. also economicallydriven.We’re curious very anditsgatekeepers istosomeextent industry ers self-producing rather thanrelying on hasdecreased. Sotheshifttomore design- try number ofjobsinthetraditional designindus- with 3-Dprintinginthiscontext? manufacturers. Whatdoyouseehappening replaced high-qualityprintingbycentralized poor quality),andtheycertainlyhavenot to beeverydayquality(ormoreoften,quite have inkjetorlaserprinters,buttheytend printing asapotentialpredictor. Mostpeople consider whathappenedwithdesktoppaper 3-D printingmaytake inpeople’s lives,andI schools, etcetera. Their affordable, accessible large businesses, designstudios, factories, they market theirprinters toward smalland oriented toward at-home fabrication.Today open-source RepRap andwere originally saw thelightofday inthe slipstream ofthe tion ofmany ofthe3-Dprinterbrands that insight, anddedication. at thepress of abutton, itstillrequires skill, printing isoftenbranded asmanufacturing few peoplemake theirclothes. While3-D good patterns widelyavailable, still,very more. Sewingmachinesare affordable, and printer isafairone, andthere are many will have one. The analogywiththepaper household those projections inwhichevery U: The democratization ofdigitalmanufac- You canseethisreflected inthe reorienta- We fullyagree andare rather skeptical of I am often suspicious of the place desktop Iamoftensuspiciousoftheplacedesktop BC: tangents thanoriginallypredic ted. but itshowsthatshiftshappenalongdifferent can createamountofdataanxiety, acertain the pilingupofhugenumbersphotographs algorithms are successful,nottomentionthat outbadones.prune We candebateifthose sift through themtocompilenarratives and we share themonlineandhave algorithms of photographs andprintnoneofthem,but imagined thatyou wouldshootthousands images athomeontheirfancypaper. Nobody ined thatyou wouldprintthosehandfulof shop. The inkjetprinter manufacturers imag- the fewgoodonesandsendthemtoprint graphs filmallowed, butthat you’d justselect quite abitmore thanthethirty-six photo manufacturers imaginedthatyou couldshoot tal photocameras camealong, thecamera drastically.diverts For example, whendigi- analog original,butintheenduse-case people imaginethemtakingtheplaceof toformerlyanalogprocesses.terparts Initially ogies, especiallywhentheyare digitalcoun- though, withtheintroduction ofnewtechnol affordable prosthetics. in somepockets ofmanufacturing, suchas 3-D printersare generating asilentrevolution and yourwork? affordances ofvarioustoolsin your processes identified asabenefit.Canyou talkaboutthe hand tools,thereisrisk,andthis riskisoften the outcome. Withworkingbyhandandwith considered here),thereisoftencertainty in mechanization (and3-Dprintingcouldbe risk. Withsomeprocesses,particularly workmanship intermsofcertaintyand published in 1968,DavidPyewroteabout This [kindofprediction] isalways thecase, In The NatureandArtofWorkmanship, - - cised interactions. This can bedefinedasa hand andhand-and-feetgestures orexer way oranother. There’s discussionbefore insome assistant needstobeinstructed assistant; theyrarely workalone. And the ers, oneoftheirmost-used “tools” isan the material,andincaseofglassblow almost always atoolbetween thehandand never touchesthehotglassdirectly. There’s zation ofhandbuilding, no?Aglassblower wheelwas inventedpottery asamechani- line between atoolandmechanization?The working “byhand.” Where doyou draw the ideas andworkingpractice, evenwhen mechanized computerlike behavior intheir humans ingeneral) canexhibitextreme that have aninheritedunpredictability? or whenwe play withalgorithmicprocesses peers andactmore asorchestra conductors, when we collaborate withlarge networks of release ofourwork asopensource, part Age), torelinquishing control whenwe tion (somethinglostduringtheIndustrial of design,making, financing, anddistribu- control asdesignersovertheentire process of thephysical making?From reclaiming but are we lookingbeyond thestrictdomain Maybe we are indeedlookingforthatrisk, it appliestosomany ofthethingswe do. control,” andthatresonated withusbecause 3-D printingwork“riding ontheedgeof something alongthelinesofourceramic thing whilereferring toourworkinatalk, approaching thatcertainty. carpet outfrom underourfeetwhenwe are to ourrestless nature. We oftenpullthe you speakof, butmaybe thatismore due U: On theotherhand,many makers (and Del Harrow oncementionedsome We stillfailtoexperiencethatcertainty - - - - BC: response.an on-the-spot for beforehand or leave openness and flexibility tools. You canprogramtightly themvery ordigitalproduction computers their] and dissimilar from [thedistancebetween users between andhistoolisnottoo anartisan collaborative approach. To us, thatdistance master-apprentice type ofcontrol or amore or illustrate thatthere isagradient between questions thatbuildbridgesbetween thetwo U: positive ornegative? constructs inyourwork,andifso, arethey tensions. Doyouagreewiththeideaofthese binary constructsthatinherentlyinvoke like hand/machine, andrisk/certainty, are and analogprocesses.Digital/analog, AND DEDICATION. SKILL, INSIGHT, STILL REQUIRES A BUTTON, IT AT THEPRESS OF MANUFACTURING BRANDED AS PRINTING ISOFTEN WHILE 3-D We strivetoformulatepropositions and Your workoperatesbetweendigital

PRINTING 49 | Studio Potter 50 2010; copyrightZ33. Kristof Vrancken, clay. Photographby methods ofhandeling connects withtraditional of newtechnologiesand harnesses thepotential source clay3-Dprinter by Unfold,theopen | Studio Potter  PRINTING Pioneered in 2009 Pioneered in2009 ing isjustamatter ofpressing CTRL+P. objects inothermaterials)using 3-Dprint object to the idea that creating ceramics (or making andapplyingtools. We strongly tially acontinuationoflongtradition of analog andshowshowtechnologyisessen- ally softensthetensionbetween digitaland Abstracting Craft: The Practiced Digital Hand. The Craftsman orMalcolm McCullough’s regard, oneshouldread Richard Sennett’s that iswhatdrivesyou creatively. In that is any different from “handmaking” if process throws insomepleasant surprises, creating scripts, andbeingexcited ifthe time onacomputer, plotting outdesigns, before throwing, buthowmany don’t? creating things—somelovetowedge clay some ofthephysical laborthatcomeswith involves computers. dreads And everyone with operating asmallbusiness, whichoften the type ofgeneral managementthatcomes having tospendtoomuchtimeonemailand activities inboth.Ascreatives, we alldread pile lacksnuance. There isahugevariety of on onepileandallhandworkanother 1or0.binary: To throw allcomputerwork something richandcomplexintoa very digitalway ofthinking.very It’s reducing people rejecting digitaltools—is, infact,a heard inthediscourseof opposites—often positioning ofdigitalandanalogaspolar digital andanalog. Onahumorous note, the We alsostrongly feelthatourworkactu- We failtoseehowspendingcreative their projectsathttp://unfold.be LEARN MOREaboutUnfoldand - poem, "Beannacht(Blessing)," thatIkeep onthewall ofmy studio. wish forallofyou isbestexpressed bytheIrish poetJohn O’Donohue's issue ofSPwillencourage you toexperimentwiththismaterial.My find more on paperclay intheformofvideostorytelling. Ihopethis ration. Beyond theprintedpage, ontheStudioPotter website, you’ll duce newtechnicalapplications, andlinksforreaders’ explo further who were thatintro innovators inthemedium,educationalarticles known aspaperclay, Iincludedapersonalnarrative, ofartists interviews In centered selectingarticles around thethemeoffiberandclay, commonly Chinese Fantasy, byCharlesF. Binns, intheDecember 1998issue. significance, poemsand, yes, evenaplay called The Hawthorn A Vase: personal narratives, interviews,ofeducationalandhistorical articles and beautifullydesignedpublication.Ilovethatitoffersanarray of LORIE NELSON WORD FROMTHEEDITOR I this diverse, lush,oftenexotic, of I amhonored tobeapart ceramics. How wonderful!” journalcenteredliterary around lutely stunning!Iamlookingata my firstthoughts.“This isabso Potter. Idovividlyremember as my introduction toStudio don’t recall whichissueserved - - - To mindyourlife. An invisiblecloak Of lovearoundyou, Wind workthesewords And somayaslow May theprotectionofancestorsbeyours. May thefluencyofoceanbeyours, May theclarityoflightbeyours, May thenourishmentofearthbeyours, To bringyousafelyhome. A pathofyellowmoonlight May therecomeacrossthewaters Blackens beneathyou, And astainofocean In thecurrachofthought When thecanvasfrays A meadowofdelight. Come toawaken inyou And azureblue, Indigo, red,green May aflockofcolours, Gets intoyou, And theghostofloss The greywindow Freeze behind And whenyoureyes To balanceyou. May theclaydance And youstumble, On yourshoulders The weightdeadens On thedaywhen BEANNACHT (BLESSING) PAPERCLAY 51 | Studio Potter 52

| Studio Potter PAPER CLAY 2 1 3 3 3 INTERVIEWS ARTISTS ER CLAY PAPER CLAY

WITH

3 them for Potter. Studio 2018asindividualphonecalls,thenedited May andOctober willing toshare theirknowledge. Ididtheinterviews between corporated itintheirstudiopractices, andare teacherswhoare novators medium,independentlyin- inpaperclay asanartistic BY LORIE NELSON I INTERVIEWED clay inyourwork? cultural orotherwise, ledyoutousepaper nylon asafiberin your clay. And don’t use the traditional rules, unlessyou want to use one said,“Oh, there’s noother optionto for expressive freedom mostofall. stageintheprocess? Iyearned much atevery so And, WhydoIhavetobabyeverything dry? body. And, Whycan’t youworkwithitwetand at all.Ithought,There’s gottobeabetterclay the grogged clay, andIwasn’t happywithit were usinggrog. workingwith SoIstarted recipe. Sculptors’ clay bodiesatthattime clay body recipe andasculptor’s clay body behind thedifferences between apotter’s ies from raw materials, andtherationale and glazechemistry, howtomixclay bod- Studio. ofclay Iwas learningtherudiments [Professor] Betty Woodman attheFirehouse Colorado Boulder]in1971studyingwith when Iwas astudent[attheUniversity of Illustrations byMatthewCausey ROSETTE GAULT: LORIE NELSON: But of course, duringthoseyears, every What references, What references, My story begins My begins story these three artists because they because are thesethree allearlyin- artists - lot ofteststhatdidn’t allthese work, trying paper clay provided therightbalance. with almost uselessandworkingwet todry work habitswithtraditional clay proved tobe ity duringthe nextfewdays ofwork,asmy pulp. In retrospect, there was asynchronic- body, and thenIendedupmixingmy own borrowing somepulptomixintotheclay mixer-beater formakingpulp. Iendedup making studionextdoor, withaHollander can build.” There happenedtobeapaper “Oh, I’m gonnascaleupandseehowbigI until 1990, when,onaresidency, Idecided, on thekilnorfiringprocess. Ididthatup jet-black bodies onceinawhile, depending ware, aswell asaterra-cotta; andalso some bodiesconsistentlyfortable and china-clay chose touseacoupleoftraditional porcelain andsculpture of pottery aftergrad school,I like these. can’t beaged.” They gave allkindsofreasons just stinktohighheaven, andthenyour clay paper pulporanything like that,becauseit’ll What ledmewas frustration andawhole As afull-time studiopotter andteacher - - having atraditional ceramics background, I was ingraduate school—aswell asmy ticed withapapermaker fortwo years while as atrained papermaker—I hadappren- making structures. materials, and combiningitwithclay, and in theirimmediatearea, aswell asfibrous they were takingpaperandotherrefuse birds created structure andnoticingthat an environmental level—lookingathow early nineties, itwas on my observation about paperclay. In thelateeightiesand read any historicaltextsthatwere written never taughttousepaperclay, andIdidnot me was anenvironmental connection.Iwas was socloseandfar. which was theonethatwas offtheradar, that magic ingredient hadbeenthere allalong, clay todowet-on-dry. And loandbehold,the here andthere, toseeifIcouldgetregular mixtures andadaptationslittle recipes concoctions ofcastingslipandallthese REBECCA HUTCHINSON: I started thinking about my expertise thinkingaboutmyI started expertise What led Whatled PAPER CLAY 53 | Studio Potter 54 | Studio Potter threatening to people. materials shouldnot be media andmixed In thesetimes,mixed PAPER CLAY had aninfluence onme. of thethingsthatcameout discussion case,no tothat,butinthisparticular some ceramics? And asa general rule, Iwouldsay of adiscipline—like, canajeweler influence mightinfluencetheoverall artists direction the thingsthattheywere talkingaboutishow section between Oneof thedisciplines ofart. how theycouldincrease theamountofinter ferent disciplines gottogethertothinkabout ada, around 1995. Avariety indif- ofartists there was aresidency thatwas inBanff, Can- environmental observation. research. And theresearch an was truly my materialsasIwas seeingwithinmy gave myself permission,then,tocombine them asisolatedfrom eachother. Ireally myself tocombinethematerialsandnotsee the combinationofmaterials. density andhardness andthesuccesswith formandseeingthe other speciesconstruct my conceptualresearch andlookingathow that thisismy expertise, anditconnectsto ofpaper.”the construction realizing Istarted gosh—I knowcellulose, Iknowfibers, Iknow ing onmy expertise, andIwas, like, “Oh, my undergraduate andgraduate. Iwas reflect JERRY BENNETT: So itwas relying Idared onmy expertise; In thinkingback, - - so muchirony inhow, intoday’s society, some ing tonotbepure, nottousejustclay. There’s and theycompletelycleanitup. through Listerine. Iuse Listerine orbleach, concerns, but moldcanbedeterred, easily, is notgoodandmolddoescreate respiratory mold, andIalways quicklyclarify thatmold from thekiln. that’s burning outofthecelluloseisreleased lid iscracked openforventing, allthecarbon there’s anenviro-vent onthekiln,orkiln that there’s only harm in trapped carbon. So if so harmfultothekiln,butinreality, we know can’t dothat.” Ihearthatallthetime, thatit’s can’t fire thatinakiln. You can’t dothat. You about theharmitdoestokilnelements. “You jerk reaction from strong traditionalists very have youencounteredinthepast? technique thatexcite me. past twenty years andstillfindaspectsofthe having atthetime. I’vebeenusingitforthe found thatitanswered alotofproblems Iwas some wet clay andexperimentedwithit, discussion, Itooksometoiletpaper, putitin what kindofimpactitwouldhave.” After that was incorporating paperfibersintoclay and ing event.Oneofthethingswe talked about like, “Oh, Ijustwent tothisreally interest casualcommenttome, She justmadeavery came toThe Clay Studioforaresidency. whowas attheBanffevent national artists Studio inPhiladelphia.Oneoftheinter RH: LN: Traditionalists sometimes finditthreaten- Other misconceptions Ihearconcern At thattime, Iwas anassociateatThe Clay What misconceptions about paper clay What misconceptionsaboutpaperclay Well, themainoneiskindofaknee- - - when an artist gets a bad batch or one that getsabadbatchoronethat when anartist much darnfuntoworkwith.Ialways hate withpaperclay,struggling becauseit’s so that’sand Iwishthatcouldhelpeverybody better art. anything tosay, it’s notgoinghelpyou make good thing. If it’s not,orifyou don’t have thenit’swhat you want todoasanartist, a you want todowithclay. sense thatitallowsyou todoalmostanything paper clay canhelpyou realize that,inthe aconversationend—art—is ofideas, and a meanstoanend,it’s nottheenditself. The Paper clay isatechnique. In otherwords, it’s people are confusingtechniquewithart. ger andeasiertomove. fibers intheclay, anditmakes itmuchstron- transport themintoa kiln,you canputpaper ing really, really large pieces, andyou want to have theseproblems, forexample, withmak regular clay, andbehappyaboutit.Butifyou and doexactlywhatyou’ve donebefore: Use it’s notsolvingproblems, you shouldgo back it eithersolvesproblems oritdoesn’t. And if and like my initialexperiencewithpaperclay, things, Most willingtotry peopleare very newthingswithpaperclay.open upandtry ence withit.It’s really exciting toseepeople paper clay is, andhave nopractical experi - shadowy ideaofwhat people whohave avery should notbethreatening topeople. times, mixed mediaandmixed materials people want distinctionofmaterials. In these RG: JB: If usingpaperclay solvesproblems for This ishard toexplain,butIthinkthat In teachingworkshops, into I’verun There are justsomany misconceptions, - be “virgin” pulp. pulp was, too, andwe thoughtthatithadto expensive,in 1970andearlierwas very and any manufactured, manmade fiber. Paper using paperoversomethinglike nylon or thinking: thatthere was noadvantage to only duetobadbatch. badly prepared pulp, orsomethingthatis gets aproblem withcracking, orflecksof is notprepared correctly, andthentheartist up inakiln.It’s commonformetofire very that itsolvesproblems. Paper clay won’t blow traditional clay? advantages ofpaperclay, comparedto LN: JB: And one otherthingisanoldway of One of the reasons to use paper clay is One ofthereasons tousepaperclay is What areafewadvantagesanddis- wet work.It fitsinto my schedule.I can fire itwithout really toomuch concern about if it’s dry or not. concern aboutifit’snot. or dry over timeistheability to take of thethingsI’vedeveloped what they’re doing, soone something that’s broken and put itbacktogether. Paper clay is really, really goodat repairing things. In fact, throws potsonthewheel, I’ve gotastudentthat Matthew Causey sketch Matthew Causeysketch of aRosette Gault figurative sculpture. figurative sculpture. to besuccessfulat want my students can beusedfor repair ofthings. I Also, paperclay allows for late-stage additionstoworks. allows forlate-stage if theyopenup, you just fixthem. Paper clay a pottoseeiftheseamsholdtogether; and it’s areally goodideatogooutandforce-dry clay willwithstandforced drying, andinfact, enings tomake changesintheform.Paper Paper clay will withstandmultiplere-damp orwet-to-bisque.do wet-to-wet orwet-to-dry the sizeatall. way, about theycanbuildwithout worrying wet clay overthetopofarmature. This armature out of paperclay, then putaskinof sculptures.that make life-size They make an than you wouldnormallywork. Ihave friends which inmy caseisacone13porcelain firing. Nothing iseverdoneuntilit’s thefinalfiring, it,andyou couldkeep going.re-bisque off, putaraw pieceofclay ontothebisque, this handle.” You couldcutthebisquehandle go bisqueit,bringitout,say, “Istilldon’t like handle off, putanotherhandleon.You could you don’t like thehandleonit,take the dried clay. You couldgobuildaform,decide easily justbyaddingwet clay tothealready fibers intheclay, butIcanmoveforward very number ofpaperfibers, orinthiscase, cotton working onitwithwet clay. Iincrease the don’t thatitdriesfast.Ijustcontinue worry out.I cover ittokeep itwet, justletitdry atthebottom,I start worktothetop. Inever of theformsImake take two weeks tomake. fits thepiecesallbacktogether. andtakes coloredapart paperclay slipand like bigbowls, andbasicallybreaks them The fired results from paper clay are You canusemultiplelayers ofclay. You can With paperclay, you canworkmuchlarger You application.Some candowet-on-dry - which I was completely unaware of when I which Iwas completely unaware ofwhenI nutshell. It’s unlimited. so many choices, andthatis the answer in a dip othermixed mediathingswithit.There’s crochet withit. Icastwithitinsolidmasses. I cut. Iuseitwithasewingmachine. Iknit, I with it.Iuseitbetween sheetsofpaperand processes weave withit.Iuserammed-earth extreme choices informdevelopment.I the advantage. choices withoutfear. That’s thehubof truly help anemerging maker navigate through the as amaker andasateacher, becauseIcan and Ifindthatever-more exhilarating, both You have thisunlimitednumberofoptions, You canputwet paperclay onglazedclay. clay.on dry You canputwet clay onfired clay. wet clay onwet clay. You couldputwet clay and you’re notconcernedaboutputting just you’re evenly, notconcernedaboutdrying because you’re notconcernedaboutscoring, rigid thinking. You have unlimitedchoices, clay, andyou don’t have theboundariesof far exceed thoseofworkingwithtraditional So, allofasudden,you have choicesthat and inlosingsomeweight afterit’s fired. in building, withlesscracking, indrying regular clay. then they’re gone, andyou’re backtothe fibers are there whentheyneedtobe, but you’re backtotheregular clay. Sothepaper and afteryou bisque, thefibersare gone, so think aboutit,you addfiberstothe raw clay, exactly thesameasregular clay, becausejust RG: RH: Personally, Itake advantage ofmany First ofall, there’s awall ofinvisible fear, Paper clay offersmeatremendous ease PAPER CLAY 55 | Studio Potter 56 | Studio Potter PAPER CLAY two firings. It eliminatedthebisquefire. enough toapplyglaze, Ihardly everhave todo because paperclay greenware isabsorbent time andsomuchfiringfuel.Idofastfirings I have saved weeks andmonthsofdrying have evertriedbefore. but withallkindsofcombinationsIwouldn’t ing freedom towork—notjustwithwet-dry, you understandthem.This hasgivenmeamaz- and thosemovementscanbemanagedwhen cellulose fiberthatpulpismadeof. It moves, ly shouldyou fire it. new formwillhave topassthrough successful perfect preview ofstress ofthesort your wild gently expands, andshrinksexpands. It’s a And ifyou needtowet itagain,your form paper clay.” Now thecrack isdouble-strong. place, alittle crack, “Oh, I’lljustpatchitwith in thekiln.And whenIseethere’s astressful shrinks, it’s apreview ofwhat’s goingtohappen And, infact,paperclay isdynamic.Whenit it. walls, orforce-dry andyou canletitair-dry with paperclay you don’t have tohave even and “Oh, Ihave tohave evenwalls,” because “I have tobabythisbecauseitmightcrack,” this,”have tostopandthink,“Oh, blow-dry or any fearofcracking. All ofasudden,Ididn’t to using paper clay, all of a sudden, I didn’t have used traditional clay. ButwhenIswitchedover ties toexplore andavenues forexpression. one needs, butitdoesoffersomany possibili- the materialis. It doesn’t every doeverything a group, toeducatetheworldabouthowgood of. Ithinkthatthere’s anopportunity forus, as material thatmore andmore peopleare aware you like tosharewiththeartscommunity? LN: RH: The otherthingis, itsaved mealotoftime. Paper clay isfulloflifeandDNA duetothe

What main thought about paper clay would What mainthoughtaboutpaperclaywould I want to share thatit’s aviable, good

- - story, make astate ment! ity with the materials to tellyour it’s Paper nottheart. clay allowsmore flexibil use it;ifnot,gobacktoyour regular material. for you, thenI’d recommend you continueto basically, giveitatry, andifitsolvesproblems communitymessage totheartist wouldbe, the technical aspects of the material. My main because you’re somuchabout notworrying stuff, whichreally makes teachingaloteasier problems, like cracking andallthatkindof about clay, you cantake away someofthe you’ve gotyoung studentsthatare learning the past.And theotheradvantage isthatif in amuchmore aggressive way than Ididin paper clay. It allowsmetoapproach theclay reason why I,atleast,aminterested inusing marginalized genre. rather thanhaving itseenasjustanarrow or its momentandilluminatingpossibilities, teach, andI’m interested inbringingitinto spaces. It’s amaterialthat nowmakers can civilizations have usedittobuilddomestic paper clay. have benefittedartists similarly from using the increased scaleofmy work—andother fited from themonumentality of my workand I’m nowbuildingroom-size pieces. I’vebene use thismaterialwithsuchaconfidencethat that Ireally want tohighlightisscale. Ican respect. that deserves rial. Iwant ittobeseenasaviablematerial techniqueoranichemate “crafty” a as seen great choiceforexpr the materialtoalways bepresented asa JB: Paper clay in itself is a technique, a method, Nature hasusedpaperclay forever and One ofthespecificqualitiespaperclay I want itnottobemarginalized. Iwant Paper clay solvesproblems. That’s the ession andnottobe

- - - encourage you more. couldn’t in thatdirection, I scientists could,too?Any feelingdrawn artist and sustainability andenvironmental experts money usingpaperclay; maybe engineers level. Potters are andartists saving timeand to beexplored atthenanoscale, molecular clay compounds fordifferent purposesneeds database ofresearch onsustainablepaper and othermedicalapplications. The public for filtration, incubating helpfulmicrobes, clay–prototype potscouldbetestedlater paper clay compounds. Imagine howpaper and lesstimefretting overthetechsideofit. time refining with your imagination theart methods. You canspend more ofyour studio curve. You’ll alongwiththenew becruising medium, paperclay canspeedyour learning ofteacherwhounderstandsthe out thesort ear thinkingondigitaldevices, andyou seek new toceramics andyou grew upwithnonlin- because you don’t needtobabyit.If you are especially around theway you use studiotime, to have someunlearningorreadjusting todo, it, itextendsnewfreedom toyou. You’re going regular clay. If you take thetimetogetknow clay, it’s notgoingtofeelexactlythesameas misconceptions. it, sothere’s lesschanceofperpetuatingthe all thesepeoplewhodoknowmore about who knowsalittle bitaboutit.Now we have yourself someheartbreak byfindingsomeone plenty ofhearsay anderror onthere. Save the Internet onehundred percent. There’s the firstthingis, getthefacts;don’t rely on RG: Matthew Causey Illustration by Research is still needed with sustainable Research isstillneededwithsustainable The secondthingis, paper whenyou try Well, let’s see. Where Well, dowe start?

by JamesMosley. wire. Photograph Porcelain paperclay, 2018. 14x16x22in. Jerry Bennett.Ozark, by JamesMosley. wire. Photograph Porcelain paperclay, 2018. 14x16x22in. Jerry Bennett.Ozark, in theuseofpaperclay, itleadsto are. Sincethere is suchdiversity interests inanduseofpaperclay symposia ishowdifferent artists’ my majorimpressions from both symposium tenyears later. Oneof and thenasco Studio inKecskemét, Hungary, in 2002attheInternational Ceramic international paperclay symposium of ceramics. Iattended thefirst A BEGINNING YOUR BY JERRY BENNETT of Fiber Clay Exploration -leader of the second -leader ofthesecond new in the history new inthehistory clay is relatively rtists’ useofpaper

PAPER CLAY 57 | Studio Potter 58 Pennsylvania. Pennsylvania. studio, Philadelphia,  PAPER CLAY | Studio Potter jerrybennett.net runs Two RiversStudio. where heteachesand He livesinPhiladelphia, Paper ClaySymposium. leader ofthesecond and in2012,hewasthe Kecskemet, Hungary; Clay Symposium in first International Paper honored guestatthe In 2005,hewasan Bloomington in1975. Indiana Universityat earned hisMFA from Jerry Bennett Bio Jerry Bennett in his Jerry Bennettinhis in paperclay are paper, cotton, linenor fiberscommonlyfound The cellulose-based fibers,cellulose-based notjustpaperfibers. really talkingaboutamaterialcomposedof when we usethe term“paper clay,” we are newtothematerial. confusion forartists One possible source of confusion is that One possiblesource ofconfusionisthat hollow tubestructure ofcellulose fibers ture isnotcomplexenough.They lackthe - well ascellulose fibersbecausetheirstruc such asnylon orfiberglass, don’t workas such aswool,andmanufactured fibers, kenaf, alsoknownasjute. Protein fibers, flax (from whichlinenclothismade),and to begintheirworkwithfiber clay, less likely tohave organic additives. als mightbeacceptablebecause theyare Toilet papersmadeofrecycled materi- tives, low-quality kind. usually avery look fortoiletpaperwithoutaddi- down. If you want tousetoiletpaper, only aweek before itbeginstobreak soft, fiberclay usingtoilet paperlasts toilet paperhasadditivestomake it toilet paperasasource offibers. Because lintdoesn’tdryer meeteithercriterion. enough quantity tomeetyour needs; is consistentandthatyou canobtainin want asource offibersin your clay that lintinclay.good ideatousedryer You my workshopsisaboutwhetherit’s a common questionsIgetasked during understandthismaterial. to helpartists this materialasfiberclay, notpaperclay, clay. In reality, we shouldbereferring to clay body, improving theworkability ofthe actionwhenusedinthe for acapillary rapidly.decay very Cellulose fibersallow or, inthecaseofprotein-based fibers, they I advisepeopletousenewspapers Another questionIgetisaboutusing Speaking ofmaterials, oneofthemost to a very short fibersuchasthatused short to avery rough, unlesstheyarevery reduced balance, providing afaster way ofworking. paper fibersandcotton afforded methebest double thequantity offibers. Amixofnews- Experiment withratios anddifferent fibers! in thisorder: papercotton, kenaf andflax. the amountoffibers, orcombiningfibers complex sculptural forms, increasing try such asthinporcelain, orworking with If you are pushingthecapacity ofaclay the type ofclay andwhatyou are making. much fiber you putintoclay dependson weight. Remember thathow on adry lain. Note thattheweight offibersisbased a twenty-five poundbagofplasticporce ninety grams (three ounces)offibersto in porcelain tomake my fiberclay. Iadd cotton linters mix ofpaperandsecond-cut of worktheyare making. Iuseafifty-fifty combination offibers, basedonthe type shiny-surfaced sections. advertising print foryour fibersource, notthe water tomake apulp. Use onlynews- first breaking thenewsprintdownin Other fibers, suchaskenaf, may be For sculptural applications, you can easily Paper usedifferent clay artists fibers, and - rebar inconcrete. Cotton added tothe cles oftheporcelain, thefibersactlike the fibers. Much larger- thantheparti is like workingwithtoothpasteuntilIadd difficult tomold,andtheporcelain Iuse cle size, makingitinherently weak and porcelain. Porcelain- hasauniform parti like wet leatherthanaslaboftraditional clay itforsculptural and reserve work. of fibersto twenty-five poundsof plastic use abaca,Iaboutonehundred grams it anexcellent additiontoclay. WhenI mix offibers, andlong, bothshort making and stemoftheplant.Abaca affords agood Abaca fibersare from harvested thebark is agoodmaterialformixingwithclay. another fiberusedforpapermakingand tural work,rapid-fired work,or raku. fiber mix. Use kenaf fibersforsculp cial fiberclays oftheir use kenaf aspart into y break themdownandincorporate them can buy themassheetsofpaper, then fibers processed forpapermaking. You porate theseintotheclay istopurchase in papermaking. The bestway toincor The slabsIworkwithare tougher, more Abaca, alsoknownasManila hemp, is our clay. Many ofthecommer - - - yield the same results timeaftertime. will that supplies thatare consistent—ones sources. Experiment withfibers, stickingto using paperfibersfortheir or otherartists per.com). You couldalsoaskprintmakers Handmade Paper (twinrockerhandmadepa- paper.com) and,inCanada, Twin Rocker as Carriage House Paper (carriagehouse from papermakingsupplyhouses, such simplest source isnewspaperorfibers as simpleorcomplexyou want. The hard. surface darkens andremains very work thatgoesunfired. Overtime, theclay usingflaxmake sculptural of theartists large sculptural formspossible.very Some strong clay bodyandmakesvery building a their fiberofchoiceisflax.Flax creates to thepointofaplasticclay foruse. Often culated clay slip, addfibers, it andthendry translucent slabs. They withdefloc- start with fibers, thin, whichtheyusetocastvery the mostinteresting fiberclays: castingslip the amountofcotton fibersin my clay. are difficulttomoveintoakiln,Iincrease strength. WhenImake larger formsthat fiber mixincreases thedry, greenware Sources offibers for your workcanbe Artists inEurope have developedoneof - PAPER CLAY 59 | Studio Potter 60 | Studio Potter PAPER CLAY & 3-DPrinting APPLICATIONS INCERAMICART BY SANVER ÖZGÜVEN Paper Clay built withdigitaldecalprinting. Approx. 12x12in.Paperclay, hand- the EarthStanding On? , 2016. 

What is Sanver Özgüven.Whatis

P naissance andBaroque periods, andusing figures inEuropean paintingsofthe Re nantly, I’veavoided thesetextures. where decalprintingisusedpredomi- clay explicit,whileinthefacialparts I’ve madethetextural traces ofthepaper prints. In ofthefigures, thebodyparts elements onthesurfacesusingdigital forapplyingotherpictorial is necessary the humanform.These forms’ simplicity ple, primitivestructures representative of Using paper clay, Idesignforms insim- Digital PrintingOnPaperclay and paperclay together. cussion oftheuse3-Dceramic printers ic formsbuiltusingpaperclay andadis- an explanationofdigitalprintsonceram- vided bydigitaltechnology. I’veincluded account ofseveral newpossibilitiespro practice andhave gathered togetheran artworks usingthistechnique. many have produced artists avariety of these printerswithceramic materials, decade andasaresult oftheharmony of become increasingly popularinthelast ing are amongitsmostattractive aspects. to performwithoutcracking ordeform- strength, bothwet anddry, anditsability itoffersartists.ly fortheopportunities Its material intermsofeaseuse, especial I selectvisualsfrom facesandeyes of I usepaperclay frequently inmy printershave Three-dimensional different ratios, isanimportant mixing cellulosefibersandclay in aper clay, whichisformedby - - - the inside. build thenarrative from theoutsideto the angel,andafishunderox—to anoxcarrying theearth, angel carrying I appliedlayers ofdigitalimagery—an used a digitized photograph ofanebula. billowing smoke. In thebackground, I chimneys,as factory city silhouettes, and such imagery included twentieth-century medieval European manuscripts, and from Turkish-Islamic mythology and on theceramic surface. Ipulledimagery environment tocreate anewnarrative various visualstogetherintothedigital Is StandingOn?”Igathered theEarth figuresruin-like. toappearoldand digital printsappliedtothebodyof clay body. Imanipulated theedgesof the imagetonetocolorsofraw the oilpaintingovertime, andmatched sized thecracks thathave appeared on figure. Through digitization,I’veempha- period paintingsusedinthefaceof ceramic surfacesandtheRenaissance to establisharelationship between the altered theimagesdrastically. changed onlythecolortones;inothers, I In manipulating someoftheseimages, I the computer, themdigitally. Ire-create printer cartridge disconnected from printer cartridge the Series” works, Iusedathree-dimensional In someworks, suchasmy “IInside with Paper Clay 3-D PrintingandHand-Extrusion In my hand-built relief work “What In my hand-builtrelief work“What In “Man intheCity Series”, Iaimed

and express my desire thattheviewer see elements onthesurfaceread like graffiti effect.Theing defectsforartistic script Series” theprint showshowIpreserved add originality toeachform. tic structure oftheceramic materialand These random defectsarisefrom theplas- surface causedbytheprintermechanics. drawings highlightthedefectsonclay original conceptsketches onpaper. The window anddoordrawings taken from my I usedceramic penciltomake simple and highlydurable. After theglazefiring, allow theentire piecetobehighlyflexible the roofs and stairs. Paper clay additions After printing, Iusedpaperclay inmaking mand appliedusingRhino 3-Dsoftware. formsusingatwistspiral, com- house-like “Nautilus Houses Series,” Iconstructed mensional printingtechniques, suchas and fired againto1050degrees Celsius. glazed withtransparent semi-matt glaze, with manganeseoxideandpigmentpaint, fired at980degrees Celsius, thencolored After shapinganddrying, theworkswere continue workingonitagainafterdrying. ularly becausetheadditionsallowmeto vides better results intheseworks,- partic drying. Adding paperclay structures pro cracks anddeformations during I observed In worksthatcontainnopaperadditions, process.mation duringtheconstruction clay topreventwith theextruded defor paper clay componentsinconjunction clay viahandpressure.extruding Iused 3-D printingmachinetoshapeforms, The detail imageof“Nautilus Houses - In my workusingmechanizedthree-di - - - Institute, Eskiş Anadolu University SocialScience Applications.” Doctoral Thesis, “Paperclay Ceramic Bodiesand Özdemir, Alkan, Dilek Ceramics Technical, 22(2006),37. Hay, Graham, “A Paperclay Update.” Monthly 60(2012),16. paper clay slabs.” Ceramics Gee, ANDTOOLS: Diane. “TIPS June/July/August (1992), 96. Paperclay.” Ceramics Monthly, Gault, Rosette, “Amazing Technical, 31(2010),39. Laguna Beach2010”Ceramics Today Conference andSymposium, Achar, Paperclay Sudha, “The References future ofceramic art. material andmeansofexpression inthe dict thatpaperclay willbeanimportant infinite new avenues ofexpression. Ipre ferent ratios ofpaperfiber toclay—allows and surfacetextures, provided bythedif- incolor digital technology—particularly niques. The richvisualcontentafforded by be usedinconjunctionwithdigitaltech- be usedinmany different ways, canalso it givesartists. This material,whichcan becauseoftheeaseuseandfreedom art, ceramic terial, especiallyincontemporary the surfacedetails. degrees Celsius ensure thepermanenceof printers. Firings three-dimensional at790 ing theuniquenessofobjectsproduced by the defectsonwork,thusalsoaddress- Paper usefulceramic ma- clay isavery ehir, (2005).

- courtesy oftheartist. Photographs and 3-Dprinted. above.) Handbuilt Series, 2016.(Detail Natilius Houses Sanver Özgüven.

sanverozguven.com University, Konya, Turkey. at NecmettinErbakan an assistantprofessor University in2017. Heis Ph.D. atHacettepe Özgüven earnedhis ceramics inLithuania, programs. After studying on ceramicsandCAD Mart Universityfocused from CanakkaleOnsekiz second MasterofArts In 2011,heearneda Arts ingraphicdesign. and aMastersofFine of Artsinceramics 1983. HehasaBachelor born inEregli,Turkey, in Sanver Özgüvenwas BIO PAPER CLAY 61 | Studio Potter 62 | Studio Potter Victor France. by wire. Photo porcelain, Kanthal Southern Ice Modified 9.4 x13.810.2 in. Ten byTen, 2010.  PAPER CLAY Graham Hay.

the nearest manufacturers being2,000 miles Western Australia today ispaperclay, despite of allclay usedinstudiosandclassrooms in oftheworldexplainwhythis part aboutathird for fearlessexperimentationamong potters in advantages ofthematerial,andapropensity a strong pioneering ethos. Perhaps theclear Australia isageographically remote statewith in 1987Perth, Western Australia. Western began teaching and exhibiting paper clay works shelves. He developedhisownrecipe, then refractory paper clay sheetstoprotect kiln ceramic engineers’ experimentsincreating had originallyread aboutEuropean industrial ceramics chemist Jaromir (Mike) Kusnik, who lead meintostrange andwonderfullands. my thinkingaboutclay andcontinuesto Making andusingthismaterialhasdisrupted in 1993 andneverfoundmy way back out. back. Iwent downthepaperclay rabbit hole that onceyou’re exposedtoit,you won’t turn “ruin” istoostrong aword, butitislikely W Paper Clay Wired into BY GRAHAMHAY I was introduced to paper clay in 1992 by I was introduced topaperclay in1992 by with conventional clay. Perhaps your relationship ruin certainly orking withpaperclay will be mindful of when trying thisthemselves.be mindfulofwhentrying also outlineissuesthatpractitioners might then talkaboutmy workandtechniques. Iwill whoareartists addingmetaltopaperclay, paper clay. ofother I’llgive abriefoverview possibilities, metalinto the suchasinserting down therabbit hole, lookingatmore radical more importantly, newways ofthinking. advantages leadtonewstudioprocesses, and to speeduptheirstudioproduction. These build newandusualforms, oruseitsimply even fired) sectionswithsoftpaperclay to ple, unfired (and cancombinethin,dry artists other, equallyusefuladvantages. For exam- ting properties, butare oftenunaware ofits andre-wetadvantage ofitsrapid drying discover thatmanyalready participants take trend intheUnited isstillunderway States. and porcelain clays inpaperclay form. This tional earthenware, terra-cotta stoneware, manufacturers beganproviding theirtradi- clay, allAustralian andmany European clay as word spread oftheadvantages ofpaper away inMelbourne. Overtheensuingdecades, sia. Here isoneexampleofsuch problem specific workshops, conferences, andsympo journal articles, andthemany U.S. paper-clay- shared theiruniquetechniquesviaemail, andtextbooks.articles Later, theygenerously techniques was formalizedthrough journal ofpaperclay well before the“vocabulary” techniques combiningmetalandpaperclay Many developedunique ofthe following artists PEERS In this article I want to lead you further In Iwant toleadyou further thisarticle At my paperclay workshops, Iregularly - - then repaired bypainting paperclay slipand/ were leftuntiltheclay hadcompletely dried, over longsteelrods. Astheclay dried,cracks paper clay. Shebuilttallpaperclay figures longpiecesof metal withinsoft using very an alternativeandpopularsolution when ing abufferbetween the two materials. dipping itinthepaperclay slip, thusprovid- pulp puree, itbefore thencompletelydry solution was todipthemetal meshinpaper (working like acar’s bumperbar).The other without cracking through thewholework to progressively closetothemetal crumple in thepaperclay, whichincreases itsability was toincrease theamountofpaperpulp before firingit. mesh, andchicken wire intopaperclay slip Laura Mau, whodippedhardware cloth,steel ing thecombingofwire andpaperclay was for creating thinnerandtallerworks. clay andprovides broader possibilities both thestrength ofthefinalfired paper and laterfiring. Adding metalincreases the clay from cracking duringdrying apart with clay usingmetalarmatures tokeep was collectivelydevelopedforbuilding network.solving withinthepaperclay artist appear afterfiringpaperclay. to reducethehairlinecracks further that and summarizedthetwo majorsolutions for theCeramic Arts conference, we shared later attheNational Council onEducation workshop, andwithRosette Gaultafewdays her andAnthony Foo ata2007Californian Sculptor Lorri Acott-Fowler hasdeveloped One of the first artists formallydocument One ofthefirstartists A combinationofstudiotechniques 1 In lunchtime discussions with In lunchtimediscussionswith 2 One solution Onesolution - could befilledby repeating thisprocess. completely drying, any remaining cracks firmpaperclay wedges.or inserting After without sagging under their weight. I join undertheirweight. Ijoin without sagging them completely;theycanstand upright out long, thinpiecesofpaperclay, thendry example, to buildastallpossible. Iroll limits,to pushthemediumitsvery for In my workwithpaperclay, Iamcompelled AMBITIOUS TECHNIQUES mesh inherearlybooks. of hardware cloth,chicken wire, andsteel Gault limitedherdocumentationoftheuse fumes. The latter effectwas why Rosette and mostimportantly, creates highlytoxic oftheceramic body,times dissolvespart coating creates metallicbubbles, some burnt off. The oxidizationofthisprotective coatings suchasgalvanized zinc,have been rate accelerates ofrusting becauseanti-rust ated rate duringkilnfiring. After firing, the weakness andstrength simultaneously. cracks inherworkvisible, toillustrate human However, Acott-Fowler ultimatelyleftthe chicken wire andmetalrods. dentally documentedIan Gregory’s useof Other Additives,Anne Lightwood onlyinci- on paperclay, Working withPaperclay and ing paperclay andmetalvocabulary a wholechaptertoexploringthisburgeon- tively. clay published in2008and2015, respec- of metalandmeshintheirbooksonpaper Astrid Sängerspecificallydiscusstheiruse Liliane Tardio-Brise, andOtakarSliva and Unfortunately, atanacceler steelrusts 6,7 In 2013, Kathleen Standen devoted 4 In her 2000 book In her2000book 5 More recently, .8 - 3 - venue. The returned ayear parts later, allstill to beassembledanddisassembled ateach and shippedtheminaway thatallowed them separately inasmallkiln,packed themflat signature “kitset” method:Ifired theparts and packed. Outofnecessity, Idevelopedmy even ifitwas properly joinedtogether, fired, thetripfromwas unlikely tosurvive Australia, exhibition thatwouldbetouringScotland;it completedworkforapaperclay partially In 2000, acurator selectedalarge, delicate, displaying my workwithoutitsfallingapart. a solutiontotheproblem ofshippingand kiln-firing paperclay oversteelarmatures. problem mimicthosedevelopedbyartists tions tothecommoncracking-during-drying or otherplant-based armatures. Their solu- soft bodyoraslipmixture overcane, wood, All applypaperclay, theseartists eitherasa fired andunfired paperclay inherworks). United States(Hutchinson oftencombines Kingdom, andRebecca Hutchinson inthe Denmark, PhoebeCummings intheUnited emerging movementare Malene Pedersen in clay movement. ontheemerging rawwriting anarticle paper completing aresidency inPakistan, and shops withtextilegroups across Australia, in 1996. The worksledtomy givingwork in anexhibitionaptlynamedOfftheRails where, Ipresented anunfired paperclay work kiln, andwithoutmoneytofire themelse minutes. ing intall,freestanding sculptures within they becomefirmwithinseconds, result these piecestogetherwithpaperclay slipand Working withpaperclay ledmetodevelop 9 The works became too tall for my The worksbecametootallformy 10 The leading artists in this The inthis leadingartists -

- - grahamhay.com.au. and supplierssee sia, workshops discussions, sympo- videos, on-line nal articles,artists, of paperclayjour- For acompletelist of thesecountries. collections inmany textbooks andpublic with hisartworkin a dozencountries, 160 exhibitionsin participated inover Australia. Hehas based inWestern international artist Graham Hayisan BIO PAPER CLAY 63 | Studio Potter 64 Photo byVictorFrance. Ice porcelainpaperclay. 98.4 incheshigh.Southern Beautiful Offspring,2016. by VictorFrance. Kanthal wire. Photo | Studio Potter  

Ice porcelain, Ice porcelain, Graham Hay. Our Mercier’s useofKanthal (kilnelement)wire during thefiring. French Canadian Réjane wires, butthemetalwire away was rusting tating” paperclay sculptures builtonthin Cornelia Konrads, I wanted tomake “levi- ambitions (ormaybe not). with champagneanddrankparts from them! spontaneously filledthesockets oftheflute exhibition, afterwhichmy colleaguesandI was disassembled attheconclusionof a standard bag. airline carry-on The work transport thework,Ipacked ittightlyinto ture weighing less thanelevenpounds. To standing, eight-foot-high porcelain sculp these methodsafewyears agowithafree works. Ireached thephysical limitsof to end,enablingmecreate evenlarger that two ormore rods couldbejoinedend a socket atoneendofthethin rods, so or base, atthegallery. Overtime, Iadded rods intoholesinacentral inserted circle this style, eachwithindividuallongthin intact. Icreated many ofmy sculptures in Inspired bya2008slideshowartist Paper clay will feedyour impossible - - wire, leaving asubtlegapbetween thelayers. pusheddownonto the the first,andpartly down asecondcoillayer perpendicularto completely withafan-heaterbefore laying paper clay coils. Idriedthecoilsquicklyand ofnewKanthallengths wire halfintothesoft short theninserted dried paperclay support, porcelain paper clay coilswithinapreviously ture firing. Ilaiddownaninitiallayer ofsoft strength through asingle, high-tempera- during drying, andImaximizedits vitrified dried andtocontainmetalwithoutcracking made useofpaperclay’s ability tobespeed- the containedspace. In it,I constructing overlaid cuppedhandsthatlightlysupported Ten byTen. This workemulatedtwo pairsof year ofstudioexperimentsfinally resulted in provided asolutiontomy problem, anda the left and right half of each figure together the leftandright halfofeachfigure together loosely intertwined thesofttops. Ipinned the pinsintoasoftpaperclay base, and tic. Ithenturnedtherods upright,pushed half, whilekeeping thetopssoft under plas- thebottom each andimmediatelyspeed-dry Kanthalhalf insert pinsintothebottom of to roll outeach figure asapaperclay coil, to break offattheankles. My solutionwas taller works, theindividualfigures tended tops.connected, attheirvery AsIcreated positioned closetooneanother, butnot tallfigures,works consistedofcircles ofvery create flexible ceramic sculptures. These alumina surfaceat1800degrees Fahrenheit. firing becauseitgenerates aself-protective The Kanthal wire duringorafter didnotrust Working withpaperclay alsoledmeto NOTES paperclay,of thedry the Icouldfine-tune sculptures. Becauseoftheprefiring strength base, tomake two eight-foot-high cylindrical washers ontosteelrods boltedintoasteel small kiln,andthreaded themwithnylon of paperclay components,a fired themin up tothree tons. Ialsocreated thousands itintopapersculptures weighing carved and threaded itontosteelarmatures, then material: Idrilledholesthrough thepaper several otherusesforexcess amountsof you stacksofoldnewspapers. Ideveloped seeable consequences, suchaspeersgiving form andmake thesurfaceless visible.” “allows forthelighttopass through the armlike additions, which, according to him, stainless steelwire tocreate longthin firing hissculptures, BennettJerry used ceramic paperclay. For example, after robust handling.flex andthussurvive cate, fluid, yet dynamicworks, whichcould connectors, Iwas abletoproduce tall,deli- dried paperclay andKanthal wire pinsas By usingthiscombinationofselectively from previously driedsmallsphere “heads.” at theirtopswithKanthal pinsprotruding 3. 2. 1. Making your ownpaperclay has unfore I amnotaloneinaddingmetalto Laura Mau, “Paper Clay andSteel,” Ceramics Monthly , 45, Lorri Acott-Fowler, “Creative Process of Anthony Foo haswritten aboutthisprocess grahamhay.com.au/fowler2006.html 2005): 43-4. Article available here: www. Paperclay,” Sculptural Pursuitmagazine(Winter foo.blogspot.com/search/label/dipping in a2012postonhisblog:http://antjh- no. 5(May 1997):46-47. www.lmau.com/article.html. - kit-set, post-firing method construction near-invisible fishingwire forstability. This flutes were lacedonto thesefigures with standing circle. Five columnsofstacked figures inaneight-and-a-half-foot free- and created overheadarches ofsixentwined columns bysteelplatesattheirmidpoint towers. Iconnectedpairsoftheseskeleton sections tocreate twelve nine-foot-high form, Iscrewed togetherthethreaded steel at various kilnsacross for single-firing Perth. unpadded boxes andsafelytransportthem strength allowed metopackthem looselyin themagain.Their dry glazing anddrying and addedasoftcoiltotheirlipbefore completely, position,letthemdry a vertical out intopaper-thin cones. Iplacedthemin coils andhand-rolled themuntiltheyopened a sharpenedwoodrod intosoftpaperclay steel rods. To create theflutes, Iinserted lain paperclay flutesontothree-foot-long speed-dry, andreglaze thembefore firing. dry, Icouldsoaktheiredgesinwater, rejoin, mal breakage. Even broke ifkey parts when and disassembling—before firing, withmini- work byrepeatedly alteringit—assembling 5. 4. 7. 7. 6. To assembletheflutesintotheirsculptural In anotherlarge work,Ithreaded porce Liliane Tardio-Brise, LaTerre-Papier, Techniques Rosette Gault,Innovation inPaperclay Ceramic Arts, Otakar Sliva andAstridSänger, Paperclay, the Anne Lightwood, Working withPaperclay andOther PhD Thesis, (University ofSunderland, UK,2013). Perfect Union, (Austria: Storchennest, 2015). Additives, (United Kingdom: Crowood Press, 2000). et Creations, (Paris: Eyrolles, 2008). - savings onproduction timeandcosts. significant but withgreaterand creativity and unusualways of thinkingaboutclay, traditional studiopractices, leadingtonew has radicalized bothmy and many others’ the Venice audience(8,376 milesaway). and physiological linkbetween themand the handmadeflutes, creating aphysical ual Western Australia ontoeachof artists the web addresses ofthousandsindivid- tendencies oftheVenice Biennale, Ifired members. To circumnavigate theelitist Prosecco andgivingthemtoaudience sembled the6,000 flutes, fillingthemwith ing, my assistantandIprogressively disas- of theexhibition.At theexhibitionopen- was filmedand replayed overthe course formalized intoaperformanceartwork that sculpture forchampagne flutes was parts tried topacktheworkinitsassembledform. ofwhatitcouldhave beenifI’dwas aquarter for theVenice Biennale. The shippingcost (and more economically)shipthemtoItaly flutes intoafour-foot-long crate andsafely enabled metopackahalftonofporcelain 8. 9. 9. 10. Graham Hay, Burn Paperclay,” “Why Ceramic, Review Youhave beenwarned! Going downthepaperclay rabbit hole My previous spontaneoususeofthe View demonstration at thisfive-minute Kathleen Standen,AdditionstoClayBodies, (London: A.&C.Black,2013)95-109. www.grahamhay.com.au/hay2007whyburn.html 227 (2007):35. Article available here: www.youtube.comwatch?v=NvSeSGVEQUs&t=9s

PAPER CLAY 65 | Studio Potter 66 PAPERCLAY | Studio Potter Studio Auber. in. Photographby height approx. 24 Paper clay. Bottle Cartocci, 2018. Paola Paronetto. —JOHN O’DONOHUE our timewillbecome.” original andcreative awareness, themore our integrity and of ourdays; thegreater “Each of usisanartist By Lorie Nelson JOURNEY TO ANEXHIBITION ILLUMINATED: PAPERCLAY

E “paper clay.” Idecidedtobring it Marker. The labelsimplyread been relabeled withaMagic tic bagofclay thathadobviously noticed a plain-looking, hazy plas- Mountain Clay inDenver, I down adimlylitaisleatRocky years ago, whenIwas wandering waiting formetodiscover. Eleven be tucked away inacorner, just in general, anything thatmay unusual packagingmaterial,and looking forelectronic parts, materials invarious stores, hunt for interesting hunt forinteresting ing practice. Ioften my studioart-mak of part important always beenan with materialshas XPERIMENTING

- objects on my worktable to use objects onmy worktabletouse behave. Iwas grabbing different no ideahowthismaterialwould poem andbeganworking. Ihad I asked theclay tobecomethe as thepageinmy book.Then, rolled outaslab thesamesize my closetand went towork.I look like?” ing thepoem?Whatwouldthat itself intoasculpture represent out ofthebook,andtransformed this pagebecameanimated,lifted my poems, if Iwondered, “What the adjoiningpage. AsIreviewed and create acollageforeachon was towritefivesimplepoems workshop.poetry My assignment home andexperimentwithit. I hauled the paper clay out of I hauledthepaperclay outof At thetime, Iwas taking a - workshops. During one of them, workshops. oneofthem, During A year later, I attended afew and continuedtoexperiment. Rosette Gault aboutpaperclay websites. I bought abookby find outmore aboutit. this materialwas andwanted to was impressed byhowflexible paper clay poem-sculptures. I water. In theend,Ihadseveral put itbacktogetherwithalittle but discovered thatIcouldeasily with brutal being particularly head andarmsofafigure I was break. Imanagedtobreak off the one ofthesculptures anditdidn’t amazed whenIknocked over strong oncedry.was very Iwas floppy, butitdriedquicklyand as supports. The clay was really I turnedtobooks, articles, and PAPER CLAY 67 | Studio Potter Jean-Claude Pierloot. x 7in.Photographby Waves 2.Paper clay. 10 3 FrancoiseJoris.Red by GuyNicol. clay, glaze. Photograph 15 in.Porcelain paper Vein #8,2018.15x8 2 ShiyuanXu.Blue Photograph byLars Bay. x 138in.Paper clay. Stalagmites , 2018.20 Stalactites and 1 68 PAPER CLAY

| Studio Potter Metta MayaGregerson. 2 1 3 PAPER CLAY 69 | Studio Potter 70 paperclayilluminated.com in Denver, Colorado. and supporterofthearts an avidceramicscollector to sixgrandchildren.Sheis specialist, andgrandmother teacher, scientist,database theatrical director, writer, soprano, actress,activist, ceramics), coloratura bricolage, textile, and including artist(collage, numerous occupations, Lorie Nelsonenjoyed BIO | Studio Potter PAPER CLAY what seemedlike infinitepossibilities. push theboundariesofmaterial to only tosolvetechnicalproblems butto ple techniquesthatallowed menot in my worklent itselftousingmulti- casting slip. Likewise, eachvariation of fibertoclay mixes, plasticclay, and the workstheycreated withvariations in fact.Their storiestranslated into had adifferentstories, story—several artists. atthesymposium Eachartist I arrived atICS andmettheother feelings ofconnectionintensifiedwhen connection withthepeoplethere. My I experiencedaprofound feelingof leave ofabsence,short andIran forit! negotiations atwork,Iwas granted a there more thananything. After some anewjob.just started Iwanted tobe was goingtohappen,giventhatIhad Portland, Oregon, Iwondered howthis windowinmya fogged-up homein attend. AsIsatatmy desklookingout makingplansto I appliedandstarted sium, themore feltIhadtobethere. (ICS), inKecskemét, Hungary. at theInternational Ceramic Studio symposium scheduledtotake place I heard aboutapaperclay–sculpture I believe that the common visual I believethatthecommonvisual From thetimeIarrived inBudapest, The more Iread aboutthesympo - sun wasn’t gonnashineanymore, God began tosing, itlooked like the “When theater. There was silence, thenshe just enterthestage, sheoccupiedthe performance began,Dr. Angelou didn’t the stagewithlittle Whenthe effort. that itseemedIcouldhave jumpedto box totherightofstage, soclose in thefront row ofasmallmezzanine Hennepin Avenue. Isatallbymyself Maya Angelou, attheStateTheater on Dr.to aperformanceoftheluminary my secondnight inthatcity, Iwent term contract inMinneapolis. On in Denver in2013, Itookashort- to Denver. Before eventuallylanding chose toquitmy jobandmoveback connection andbeinspired asIwas. a in thehopethatotherswouldfind find a way to share my experience, that iswithineachofus. Iwanted to to eachotherandthecreative force intangible experienceofconnection to share insometangibleway this importance, andasenseofurgency toreallydid Istart feel theimpact, sium inSeptember2012,however, in ourworld.Not untilthissympo iscriticaltocreatingartists balance creative energy thatexistsamong language andtheconnectionto After returning toPortland, I - time bouncing ideas back and forth time bouncingideasbackandforth andspent supportive He was very from andasked himwhathethought. of my ideasandwhere theycame paper clay artists. Ispoke aboutsome exhibition featuringinternational him thatIwanted tocreate atouring I methimatthesymposium.told whom Ihave calledmy brother since had beenbrewing forsometime. on anideaaboutexhibitionthat gave me thecourage totake action me thatwas ofvalue tosomeoneelse that Imightalsohave somethingin she was minethatnight.The thought are allrainbows insomeone’s sky, and just toyou buttosomeoneelse.” We something inyou thatisofvalue, not to hermany years ago, “You may have she tolduswhathermotherhadsaid she were talkingdirectly tomewhen all thatshehadcometosay. Ifeltasif and wouldnotletgountilshehadsaid though shehadreached outtoholdme the railing theentire time. It was as on theedgeofmy seat,leaningagainst thatIhadbeensitting applause started her song. Ididn’t realize ituntilthe of storiesandpoems in and out through skillful weaver, shethreaded herweft put arainbow intheclouds.” Like a The next day I called Jerry Bennett, Bennett, Jerry The nextday Icalled ing onefootinfront oftheother. At the myself totake itone day at atime, plac- happen. Imadeanagreement with I hadnoideahoworwhenitwould time. thisexhibition, WhenIstarted project thatmight betoldatanother aboutthedevelopmentofthis this story night. There are several storieswithin exhibition didnotcometogetherover imentation withothernewmaterials. tional ceramics, andtoencourage exper one topushtheboundariesoftradi - tility ofpaperclay asamaterialenabling creative processes byshowingtheversa- tobelimitlessintheir other artists studio practice. My intentistoinspire oftheir fibersinclay aspart lose-based whoareby artists incorporating cellu- of workbeingcreated internationally connectiveness bysharingthebreadth that explores innovation, creativity, and Its missionistostimulateaconversation & Wave — Paper ClayIlluminatedbegan. what theexhibitionwouldlooklike. concept, thetitle, andadescriptionof a formalpresentation thatincludedthe November 2012,Ihadputmy ideasinto teamfortheexhibition.By advisory to joinwhatlaterbecamemy artist me. He was alsothefirstartist with Like many worthwhile projects, this That was howtheexhibitionParticle - - exhibition tofeature international Illuminated willbethefirsttraveling making theproject areality. provided amajor boosttowards Arts (1974-75). Hiscontribution Bray Foundation fortheCeramic he was aresident attheArchie artist for theAmerican Craft Council, and Arts. Held asatrustee hasserved Council forEducationontheCeramic Renwick Alliance, andtheNational Ceramics, theSmithsonian’s James ble, from the Friends of Contemporary three ofthehighestaccoladespossi- rary-art curator. He hasreceived a museumdirector andcontempo impressive career as three-decade tion curator, Peter Held. Held hasan it possibleformetohire theexhibi- along theway. These donationsmade that helpedtokeep theproject going received several donationsfrom artists during thedevelopmentprocess. Ihave me inspiring meandsupporting have beenmy “rainbow intheclouds,” nal ideasandintentoftheexhibition. theorigi- whilepreserving participate where can ideascanflowandartists completed. Isaw myself creating aspace same time, Icouldalready envision it Particle &Wave — Paper Clay There have beenmany who artists - of artists usingthismedium. of artists today’s growing globalcommunity diversity offormandexpression in as well asshowcasetheamazing the evolutionofpaperclay media, provide historical informationabout culture.of contemporary It will concerns, andotherglobalissues social engagement,environmental address issues ofsustainability, alone; rather, artists theparticipating exhibition isnotabouttechnique Xu (China/United States).This Susan Robey (Australia), andShiyuan (Taiwan), Paola Paronetto (Italy), Barbro Aberg (Sweden), Hsu Yunghsu (Denmark), Francoise Joris (Belgium), such asMette Maya Gregersen five artists from sixteencountries, Featured willbetheworksofforty- and offertohosttheexhibition. museum torecognize itsimportance in Brockton, Massachusetts, thefirst including theFuller Craft Museum institutions intheUnited States, 2021, withexhibitionsatseveral The through tourisexpectedtorun with anopeningdateofJune 22,2019. Arizona StateUniversity Art Museum, The firststoponthetouris work usingcellulosefiberandclay. whoareartists creating innovative PAPER CLAY 71 | Studio Potter 72 72 PRINTING || StudioStudio PotterPotter Gerry Williams,1990. photographed by Warren MacKenzie Williams. editor, Gerry with SPfounding 1990 interview excerpt ofhis following isan own words. through his of MacKenzie remembrance our readers,a offers you, Studio Potter (1924 –2018) REMEMBERING Warren MacKenzie

The The

I and notbebored withwhatyou’re doing. ble toearnalivingasfunctional potter That is whatIencourage andwhatIteach. tional potasanexpressive formofwork. and aboutanapproach usingthefunc- talktogetheraboutideas we cancertainly wrong ofthem tomake potslike mine, but exposed tootherin­ completely different backgrounds andare getting oninyears. Young peopletoday have trained inthe ‘40sand‘50s, andcertainly school. This ismostlylegend.Iamaperson I may have shownalsothatitispossi- times referred toas the“mingei-sota” ence onotherpeople’s work,some t hasbeensaidthatIhave astrong influ- fluences. It wouldbe - we changetheemphasis ofthepot.[…] through time, we ourselveschange, andthus an edgetoputagainstyour lip. In addition, either ofaspoon,orplaceto pour, orof reveals itselfbyacknowledgingthepresence shape butthesenseofinternal space. It terms ofthesensepot—notexact your mouth? That already locatesyou in ize thatsenseofliquidbeingconveyed into if adrinkingvessel?Doesyour mouthreal conveyor ofliquidfrom oneplacetoanother back totheoriginalfunctionofpot.Is ita think ofnewshapesforpots, onemustgo nal ornegativespace. to Often,intrying dealing withacontainerthathasaninter than abowlforeight.In bothcasesIam of scale. Abowlfortwo peopleissmaller toprovide asense be avegetablebowl,Itry one’s home, meoff. andthatstarts If itisto about theuseapotwillbeputtoinsome Otherwise, useitasafruit bowl.[…] use itasacasserole, justputtinfoiloverit. make adeepbakingdish,and, if you want to un­ liest casseroles are hidden away instorage casseroles, becausesomeofthelove partly vases, andstorage jars. Ihave anaversion to teapots, pitchers, mugs, drinkingvessels, bowls,make vegetableserving bakingdishes, have: potsforpeopletouseintheirhomes. I completely infavor ofpurely sculptural work. many othershave abandonedthepotform work onutilitarianpottery, thatistrue, but likemaking pottery mine. Somebasetheir as Iknow, orany former studentofmine, there isnoonearound where we live, asfar If that encouraged people, I’m happy. But When Iamworkinginmy studio, Ithink I make thesamepotstoday thatIalways til they go into the oven. I would rather til theygointotheoven.Iwouldrather - - - - me intooldage. pots willripenwith tion, andthatmy ment ofpercep well asanenrich - perception as an increase in will beoffsetby But Ihopeit will wear down. physical machine Obviously my and that’s notgood. don’t make pots, remarksrude ifI at peopleandmake and irritable andshout will, too. Igetnervous old age, andIhope father livedtoaripe fiftybeing smarter years ago. My optimist aboutthefuture. Ionlyregret not year’s product from lastyear’s. Yet Iaman consumer canimmediatelydistinguishthis ent from lastyear’s design,sothatthe requires you toproduce somethingdiffer can leadtoludicrous manipulationthat challenge. The pressure ofcommercial art not something you canturnonandoff. you willbeunhappyifyou can’t doit.It is want tobecomefamousorrich,butbecause and can’t doanything else. Not becauseyou you have todo becauseyou’re inlovewithit of ourage. The challengeistodothething be areflection ofthegreatest expressions into thehierarchy ofmuseumcollectionsand such thingswilleventuallyfindtheir way Keeping upwithfashionisthewrong There willalways bestrong potsmade, and - - 41, No. 1,2013,p. 73,port. “Remembering JohnReeve.” Vol. “Letters.” Vol. 34,No. 1,2005,p. 4. “Shimaoka Tatsuzo.” Vol. 29, No. 2,2001,pp. 3-5,il.,port. “The MingeiSpirit.” Vol. 25,No. 1,1996,pp. 22-3. MacKenzie.” Vol. 21,No. 1,1992,p. 100. “Letters: MacKenzie onClark/ 1990, pp. 1-16ii.,port;InterviewbyGerryWilliams. “Warren MacKenzie: Potter’s Potter.” Vol. 19, No. 1, “Traces ofMemory.” Vol. 13,No. 2,1985,p. 13,biblio. Tony HepburnandGeorgeWoodman. Arts.” Vol. 9, No. 1,1980, pp. 68-73;with “Aesthetics, Criticism,andtheCeramic 1979, pp. 3-4;withSusanPeterson. “Bernard Leach: Two Recollections.” Vol. 8,No. 1, 1977, pp. 12-21;withotherauthors. “What IstheRole ofthePotter?” Vol. 5,No. 2, 2, 1975,pp. 28-9ii.,port. “15 MinnesotaPotters.” Vol. 4,No. MacKenzie’s Studio Potter Bibliography: Number 1,December, 1990. from Pots byWarren MacKenzie Studio Potter Volume 19,

73 | Studio Potter FULLER CRAFT MUSEUM

FERTILE GROUND: HILLTOWN 6 AND THE ASPARAGUS VALLEY POTTERY TRAIL

APRIL 13 - JUNE 30, 2019

Works on view from the Western Massachusetts groups Asparagus Valley Pottery Trail and Hilltown 6. Opening reception (free with museum admission) is Saturday, April 13, 2019, 4–7p. Pictured,clockwise MATTHEW CAUSEY from top left, works by Stephen Earp, Maya Instagram: Machin, Tiffany Hilton; photographs by @CauseyWants2 John Polak. @EmoJugs 455 Oak Street Brockton, MA 02301 | (508) 588-6000 | fullercraft.org etsy.com/shop/EmoJugs

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JUNE 22 - SEPT. 21, 2019 Three studios invite you to experience an array This exhibition is of pottery for sale by supported by the eighteen distinct makers. Windgate Charitable Foundation as a Instagram: part of the Windgate @flxpotterytour Contemporary Craft Initiative at ASU Art Facebook: Museum. FLX Pottery Tour paperclayilluminated.com | asuartmuseum.asu.edu Julie Crosby Pottery | 4224 McIntyre Rd Trumansburg, NY 14886 [email protected] | (607) 280-1606 | fingerlakespotterytour.com

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VOL. 47, NO. 2

SUMMER/FALL 2019 SP ANNOUNCES GRANTS UP TO: Anthology The podium is yours. For this issue, SP $10,000 welcomes contributions on any ceramics- related subjects in any style—interviews, first-person narratives, historical essays, GRANT PROGRAM reports on technical research, or others. MISSION STATEMENT

Deadline for submissions: May 1, 2019. Established in 2019 and funded by an anonymous donor, VOL. 48, NO. 1 Studio Potter’s Grants for Apprenticeships WINTER/SPRING 2020 program supports Col·lect / (käl΄ekt΄) v. -ing emerging artists who n. Col·lec·tions n. Col·lec·tive want to become full- n. Col·lec·tor time studio potters and, mentor-potters As an SP reader, you are likely a collector of who wish to take pots; you may be a part of a potters’ collective; your work may be a part of a private or on an apprentice. public collection. Contributions to this issue soda Kiln, 2004. (left) rebuild Glick's John Glick (right) and Melissa Vaughn exploring the base term, to collect, and any of APPLICATION BASICS its suffixes are welcome. The Grants for Apprenticeships program offers annual grants of up to $10,000 to support apprenticeships in studio pottery; both apprentices and their mentor-potters may apply. Deadline for submissions: October 1, 2019. The application period opens April 1 and closes June 1 of every year, with notification of award by July 1 for apprenticeships beginning within one year of notification (before July 1 of the following year).

CONTACT [email protected] for questions or to discuss your contribution. INFORMATION & APPLICATIONS studiopotter.org/apprenticeship-grants Email: [email protected] INFORMATION & APPLICATIONS studiopotter.org/apprenticeship-grants Email: [email protected] On the cover: Ronald Rael. Cabin of 3D-Printed Curiosities (exterior), 2018.