PLEASE ALLOW ME TO INTRODUCE MYSELF,
I’M A MAN OF CLAY AND GLAZE
PUSHED MUD AROUND FOR SEVENTY YEARS
OR TWENTY FIVE THOUSAND DAYS.
Robin Hopper is a man of many parts, mostly worn out, rusty or dysfunctional, due to a lifetime of excesses! He started working with clay at the age of three and is still doing it over 70 years later. His lengthy, peripatetic career as a mudpusher has included side trips into working as a Professional Actor, Stage Designer, Property Maker, Stage Manager, Stage Carpenter, Grocer, Greengrocer, Jazz Musician, Teapot, Wine and Beer-Bottle, Trumpet, Trombone and Bugle Player, European Travel Guide, Founder of Several Clay/Art/Craft Organizations, Alchemist, Geologist, Primatologist, Linguist, Ornithologist, Botanist, Ceramic Historian, Educator, Author, Garden Designer, Lecturer on Japanese Garden Design, Laborer and Star of Stage, Screen and Potter’s Wheel!
Friday, March 30, 2012
Wednesday, March 28, 2012
1.0mm, Inkjet Transfer Print (Hodge Inkjet Method), Underglaze Powders,
Fired Cone 10. Dimensions:7''x5.5'' Year:2009.
Love Letters, Chatboxes, Refuse/Refuse
had previously used with success on my 2D handmade sheets but I had not yet
tried it on Keraflex.
Knowing that the iron oxide laser transfer would survive a cone 10 firing, I
hoped that the image would also survive being soaked in water so that I
could then manipulate the Keraflex sheet after applying the transfer and was
very excited when it did. Finally, I had found a way to print onto the sheet
and then manipulate it. After firing, when held up to the light, the
trans-ferred image was visible through every layer of the 3D form. I decided
to run a sheet of Keraflex directly through my laser printer. It jammed. I
made adjustments for the thickness of the Keraflex, tried printing on the
other side and it ran though without a hitch, achieving a perfect laser
In hopeful anticipation, I soaked the printed Keraflex in water (trial and
error determined the correct timing) and folded the sheets retaining a
perfect image. I fired the pieces to cone ten and the result was a perfect
direct laser printed 3D ceramic form and the print was photographic
Judi's artist Statement"The idea of using Keraflex on porcelain came from trying to find a way tospeed up the intense work of carving my porcelain. I love the translucencythat one gets when one carves through a thinly thrown piece. I did try usingshellac and latex to obtain similar results to carving but was never fullysatisfied. One day I thought I will just cut out some Keraflex simple shapesand see if they will stick on a porcelain bowl. The bowl and design driedvery well, so on to a bisque and a glaze firing with no problem.
RoadsProcesses/Medium:Keraflex Porcelain,Fired Cone 10. Image Courtesy of
Kerafol. All Rights Reserved.
Year:2010.Every leaf and some of the blades of grass are made with Keraflex.
Porcelain, Keraflex Porcelain Slurry, Fired Cone 10. Silver. Image Courtesy
of Kerafol. All Rights Reserved.
Monday, March 26, 2012
PC SUBSTRATES GALLERY #2
ROBIN IS ON ASSIGNMENT AT THE NATIONAL COUNCIL ON EDUCATION IN THE CERAMICS ARTS THIS WEEK
Friday, March 23, 2012
I have been studying the material possibilities with this clay body since 2005 and have documented the details of my journey with this material, elsewhere (Ceramics Technical 2007, 2010, Journal of Australian Ceramics, 2007)
I would like to take the opportunity to discuss some aspects which I haven’t specifically addressed before, for this blog. But for those who have not heard about Keraflex before, a quick summary:
0.5mm thin after firing, these sheets suited my purpose in many ways, but they were not responding as well to my print goals. I could print on my 2d sheets, pre and post firing, but what I really wanted to achieve was to print onto clay in some way, and then manipulate the clay into 3d forms, so that the printed image was intrinsic to the 3d form itself.
Judi Dyelle. Reed Vase.
Processes/Medium:Keraflex Porcelain 0.5mm
(Dyelle Method), Tom Coleman's Porcelain, Clear Glaze, Copper Red Accent,Propane Reduction Cone 10. Dimensions:8.25''x3.5''Year:2011.
a ceramic art material that could allow non ceramicists to do work that
previously only highly accomplished artists who spent years perfecting the
creation of paper thin porcelain sheets could achieve? That Keraflex could
somehow erode the achievements of artists who do similar work without using
I would like to address these issues, with my blog post for Robin Hopper,
clay body. However, from my own experience, the studio skills that I had
previously achieved in creating, manipulating and firing my own handmade
paperthin sheets of clay, and also the many ceramic print methods that I had
experimented with - taught me some of the finer technical aspects of
working with, printing and firing such thin porcelain, hard won techniques
that I could then apply to my work with Keraflex. Without those specific
studio skills, and motivations I would not have been able to achieve my
particular goals with Keraflex at all.
ceramic artists with a wide variety of individual methods. The incredible
material qualities of Keraflex, combined with each artists unique skills and
individual studio focus, has resulted in some jaw dropping artwork. Artwork
that has resulted in some major awards and commissions for the artists who
are using it. Looking at Keraflex in this way, one can see that it is no
different to using a custom ceramic decal, or a commercial underglaze pen,
or having loyalty to a particular clay body because one suits your work
better than any other. Any ceramic material or product that allows an artist
a way to better realize their vision should surely only be seen as a
wonderful asset and a positive addition to an artist's storehouse of
Wednesday, March 21, 2012
THE IMAGES ON THIS POST ARE FROM THE PC SUBSTRATES GALLERY THAT IS FOUND ON THE FOLLOWING WEBSITE: CERAMICARTCART. COM THE ARTISTS WHO MADE THEM ARE PIONEERS IN THE USE OF THE REVOLUTIONARY, NEW, PRE-FIRED, PORCELAIN-LIKE SHEET, TRADEMARKED AS PC SUBSTRATES.