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