Graham Hay
Location
Boorloo/Perth, WA
About
Graham Hay graduated as an art teacher from the Dunedin Teachers College, before hitchhiked
around Australia in the early 1980’s. In the 1990’s he graduated from the Universities of Western
Australia, Edith Cowan and Curtin, majoring in ceramics at the latter two.
While an ECU undergraduate he was introduced to paper clay by Ceramic Chemist Mike Kusnik.
Subsequently Hay developed techniques shared through 350 paper clay workshops across 14
countries and 35 journal articles, as well as leading the first international paper clay symposiums (in
Hungary, Norway, USA).
Hay has participated in 180 exhibitions across 16 countries, including 7 biennales. A recipient of 20
awards, his artwork is in public collections in 9 countries, and in 20 books.
Artist Statement
Demonstration
Paper clay is any clay body to which cellulose fibre has been added. Adding paper fibre to any clay
transforms the medium, altering both traditional and radical studio techniques, extending the
potential of clay, fostering heightened experimenting and creativity for all. Paper clay is around a
third of all clay used in WA studios and classrooms, offering both a smooth entry to clay for
beginners, and greater possibilities for the more experienced clay user. Moreover those using it
already are often unaware of the opportunities it offers them to save time, energy and resources,
as well as realise their full creative potential.
Short demonstrations of radical techniques and variation of traditional clay techniques will be
alternated with quick Q&A seasons, to ensure something for everyone, regardless of their past clay
or paper clay experience.
Practice-Led Paper
This paper documents studio research to prevent cracks during drying and firing clay containing
metal and wire. Eventually, a continuous 20 metre strand of Kanthal or iron-chromium-aluminum
(FeCrAl) wire was built within a porcelain paper clay form, dried and fired without any cracks!
The research sat within a long and wider artistic pursuit to articulate fragility through the ceramic
medium. An attempt to strengthen extremely tall and thin freestanding ceramic sculptures, some
weighting less than 7 kg and standing over 2 m tall! The author associated fragility with social
connection and human mortality. Inserting metal inside the paper clay and then firing offered a way
to increase the tensile strength of these delicate ceramic works. An inserting of an eternal internally
to strengthen the brittle exterior?