Leena Juvonen:
I started to work with Paperclay about 15 years ago since interaction in Ceramics-conference at the University of Art and Design in Helsinki, when Rosette Gault presented her experiences on Paperclay. The same year I started post-graduate studies doing material research on Paperclay. The last ten years I have been working in my own studio using Paperclay in my ceramic art.
I got interested in Paperclay because I have always combined image and form in my works. For me, Paperclay is the way to get large surfaces easily. I make reliefs and sculptures by pressing Paperclay slip to plaster moulds and join to the forms ceramic paintings or photographs, which I fire to the surface by decal technique. My aim is to combine image and form in the way, that picture is not just a decoration but gives the form a content.
Astrid Heimer
I began working with Paperclay in order to work more easily in large formats, without taking the drying process into concideration in the same degree as before. What has later become important for me, is how I am more liberated in my sculptural work.
Thematically I work with croquis in three dimensions, where I use exaggeration of thick and thin forms to build contrasts in my artistic expression. Where it previously was difficult to join thick and thin parts of the form, because they dried unevenly, I now can work unhampered. Another moment is that it now easier to work with twists and movements in the material.
Malene Pedersen:
I have worked with paperclay for about 10 years. Mixing all kinds of clay with all kinds of fibres in a very intuitive way.
Paperclay gives me the freedom to work with ceramics in unconventional and spontaneous ways, without having to think so much about technique.
Fragility and transience are important qualities of my sculptural work.
I often use skeletons made from wood or metal as inner structures, covered with only a thin layer of clay. Sometimes my sculptures are so fragile, that they have to hang, it would be impossible without fibres in the clay.
My large-scale work is related to and built into the exhibition space. It is meant to exist only there and then. It is unfired and eventually broken down after which the clay is recycled. I really like the texture of the unfired paperclay, it is alive and slightly flexible. There is much to explore in the sphere between clay and papermachier.
Kim Jeoung-Ah:
Dr. Kim Jeoung-Ah is currently working as a post-doctoral researcher at the School of Design and Crafts HDK at Göteborg University in Sweden.
Her ceramic art and design education background includes PhD, PhL, MFA, MA and BFA, major in interdisciplinary research based on artistic research and applied technological research, ceramic art and industrial ceramic design.
Dr. Kim began studying ceramic art 33 years ago. She is a
practicing ceramic artist, university teacher and specialist writer for the press. Along with two solo exhibitions, she has participated in
over fifty group exhibitions and previously published over a hundred articles.
Dr. Kim’s works are exclusive, elegant, simple, and functional
objects. As a ceramicist, she has sound understating of ceramic education and research as well practical studio environment, and
has highly advanced up-dated-knowledge in using ceramic art and design materials and application techniques.
Since 1991, Dr. Kim has been working with paper-composite porcelain to overcome the technical difficulties using traditional porcelain in practice, which made her known as a paper clay and porcelain expert.
I started to work with Paperclay about 15 years ago since interaction in Ceramics-conference at the University of Art and Design in Helsinki, when Rosette Gault presented her experiences on Paperclay. The same year I started post-graduate studies doing material research on Paperclay. The last ten years I have been working in my own studio using Paperclay in my ceramic art.
I got interested in Paperclay because I have always combined image and form in my works. For me, Paperclay is the way to get large surfaces easily. I make reliefs and sculptures by pressing Paperclay slip to plaster moulds and join to the forms ceramic paintings or photographs, which I fire to the surface by decal technique. My aim is to combine image and form in the way, that picture is not just a decoration but gives the form a content.
Astrid Heimer
I began working with Paperclay in order to work more easily in large formats, without taking the drying process into concideration in the same degree as before. What has later become important for me, is how I am more liberated in my sculptural work.
Thematically I work with croquis in three dimensions, where I use exaggeration of thick and thin forms to build contrasts in my artistic expression. Where it previously was difficult to join thick and thin parts of the form, because they dried unevenly, I now can work unhampered. Another moment is that it now easier to work with twists and movements in the material.
Malene Pedersen:
I have worked with paperclay for about 10 years. Mixing all kinds of clay with all kinds of fibres in a very intuitive way.
Paperclay gives me the freedom to work with ceramics in unconventional and spontaneous ways, without having to think so much about technique.
Fragility and transience are important qualities of my sculptural work.
I often use skeletons made from wood or metal as inner structures, covered with only a thin layer of clay. Sometimes my sculptures are so fragile, that they have to hang, it would be impossible without fibres in the clay.
My large-scale work is related to and built into the exhibition space. It is meant to exist only there and then. It is unfired and eventually broken down after which the clay is recycled. I really like the texture of the unfired paperclay, it is alive and slightly flexible. There is much to explore in the sphere between clay and papermachier.
Kim Jeoung-Ah:
Dr. Kim Jeoung-Ah is currently working as a post-doctoral researcher at the School of Design and Crafts HDK at Göteborg University in Sweden.
Her ceramic art and design education background includes PhD, PhL, MFA, MA and BFA, major in interdisciplinary research based on artistic research and applied technological research, ceramic art and industrial ceramic design.
Dr. Kim began studying ceramic art 33 years ago. She is a
practicing ceramic artist, university teacher and specialist writer for the press. Along with two solo exhibitions, she has participated in
over fifty group exhibitions and previously published over a hundred articles.
Dr. Kim’s works are exclusive, elegant, simple, and functional
objects. As a ceramicist, she has sound understating of ceramic education and research as well practical studio environment, and
has highly advanced up-dated-knowledge in using ceramic art and design materials and application techniques.
Since 1991, Dr. Kim has been working with paper-composite porcelain to overcome the technical difficulties using traditional porcelain in practice, which made her known as a paper clay and porcelain expert.