Paper Mache sculpture as an armature for kiln fired clay?

[cjonard]

Hi all! 

I've been doing ceramics for years, and now I am trying to expand my technique. I am exclusively a handbuilder at this point. I like doing large sculptures--and was told about the possibility of using a paper mache armature as a base for making larger sculptures--but since I cannot find anything on this, I am wondering about if this is possible or not.

The idea: sculpt something using paper mache (either traditional glue/paper or making a paper pulp sculpture -like CelluClay). Then, I would let this dry completely--probably for a week or two. After that, I would put thin-ish clay slabs on top of the paper mache sculpture. Would this be fireable? Or would I need to do the cut and remove method--in which case I don't think this would work at all. My thought is that the paper mache would burn out and leave the clay alone. 

Problem is--I don't have my own kiln--I use the community center one. I have already ruined someone else's work (and I feel like crap for it!) because one of my sculptures exploded--air holes are important! I *thought* I had enough holes but boy was I wrong! So I cannot be as experimental as I want to be for fear that I would destroy someone else's work again. 

Teachers? Professionals? People with their own kilns that can play? 

I super appreciate the advice/help/what have you! 

 

[Callie Beller Diesel]

Hi and welcome!

I’m going to move your post to the Studio and Making Work section so that it gets more eyes on it.

While it wold be technically fireable, your shared studio situation is likely going to say no to paper mache in the kiln. It would likely require a special firing to allow all the organic matter plus the glues, and/or whatever is in that CelluClay to burn off properly. It would need a LOT of ventilation. I would suggest building an armature out of newspaper and masking tape that supports a hollow-built sculpture. Keep it rolled tapered, so that you create a centre-pull apparatus that’s easily removed before firing. 

Another thought is: If you’ve worked with what appears to be a fibre reinforced mouldable medium, has anyone mentioned paper clay to you? It’s pretty straightforward to make with some paper pulp and some reclaim, or it can be purchased premade from some suppliers.

 

 

[neilestrick]

6 hours ago, cjonard said:

Problem is--I don't have my own kiln--I use the community center one. I have already ruined someone else's work (and I feel like crap for it!) because one of my sculptures exploded--air holes are important! I *thought* I had enough holes but boy was I wrong!

Holes are not necessary. The only thing that causes explosions is moisture, and in a thick piece or mostly closed piece, it takes a really long time for the inside to dry out completely, and you need to fire more slowly than with typical pots. You can fire a hollow, totally enclosed form with no holes, but you have to let it dry a really long time, do a good preheat in the kiln, and fire slowly.

As for the paper mache, it will likely be too stiff to use as an armature. Clay shrinks as it dries, so whatever you use has to be able to compress as the clay shrinks, otherwise the clay will crack. Loosely crumpled and taped together newspaper works well.

Even the best downdraft kiln vent will be overloaded by the smoke from burning out armature paper. An overhead hood may be able to handle it, but it would have to be a very powerful one. Best to get as much paper out as possible before firing.

You're asking a lot for firing in someone else's kiln. If it was regular pots it wouldn't be as big a deal, but with paper and special firing requirements it's going to be more difficult to find someone to fire for you. Maybe it's time to get your own kiln?

[cjonard]

21 hours ago, Callie Beller Diesel said:

Hi and welcome!

I’m going to move your post to the Studio and Making Work section so that it gets more eyes on it.

While it wold be technically fireable, your shared studio situation is likely going to say no to paper mache in the kiln. It would likely require a special firing to allow all the organic matter plus the glues, and/or whatever is in that CelluClay to burn off properly. It would need a LOT of ventilation. I would suggest building an armature out of newspaper and masking tape that supports a hollow-built sculpture. Keep it rolled tapered, so that you create a centre-pull apparatus that’s easily removed before firing. 

Another thought is: If you’ve worked with what appears to be a fibre reinforced mouldable medium, has anyone mentioned paper clay to you? It’s pretty straightforward to make with some paper pulp and some reclaim, or it can be purchased premade from some suppliers.

 

 

I have, actually! I have experimented with it off and on and I have to admit I like the stiffness that it can produce if it is on the drier side. 

I actually had a piece explode recently--I feel SO badly for the person whose work I inadvertantly ruined...but I will say that I was nervous about an explosion and warned the person loading the kiln! We figured out that it was not my fault--rather they fired greenware (my piece) with bisque-fired/glazed work and the kiln heated up too quickly for the greenware. Ah well--it's all about the process, eh? The reason I bring this up is that I ended up using paperclay for ears (it was a zebra) and they made it all in one piece--so I might be totally sold on paperclay!! 

 

I WISH I could get my own kiln. Not enough money or space at the moment---but it is on the list. 

Thank you all for your responses! I am glad that I asked.