The Journal of Australian Ceramics Vol 52 No 2 July 2013

Viewed and Read
Additions to Clay Bodies
by Kathleen Standen
Published by Bloomsbury ACAD & PR, May 2013
128 pages, paperback
ISBN 9781408153949
$35
Now available at book shops
and online stores
Rice, dog biscuits, coffee beans, cereal grains, nuts, bark chippings, glass beads, pebbles, nails, perlite
and broken bits of pots ... " This is the opening to Kathleen Standen's publication Additions to Clay
Bodies, an introduction that makes one want to read on .
This is a resourceful book full of unique processes and practices, with a recurring theme of
experimentation. The chapters cover an extensive range of additions to clay including natural
combustible materials and man-made 'hard' materials, each creating individual surfaces and textures on
the fired piece. Many inspiring ceramicists who experiment w ith a wide selection of additional materials
to clay are showcased, with great images.
One ceramicist featured is the Danish artist Mette Maya Gregersen, who creates wave-like sculptural
forms. Gregersen manipulates bamboo blinds, binding them into the desired form then proceeds to
slowly coat the form in layers of paperclay slip which has additions of molochite, acrylic fibres, bentonite
and sand. The work is then glazed and multi-fired, the result having an ephemeral quality. The forms
have a lovely sense of lightness, which alludes to movement frozen in time.
Further interesting additions highlighted are mung beans sprouting in porcelain tiles, which, after
firing, leave subtle crevices and cavities. Other ceramicists incorporate w ire, recycled and crushed
crockery, chunks of feldspar, coloured clay fired then crushed creating coloured grog, cotton wool balls
dipped in slip and attached together ... and the list goes on.
A stand-out feature of this book for me is the encouragement to experiment, noting processes and
nuances, being observant, and building up unique surface treatments to call your own. Additions to
Clay Bodies is for anyone willing to experiment, and a great resource to add to the library; however,
some prior knowledge and understanding of clay processes and firings would be an advantage.
Review by Natalie Velthuyzen
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013
lOS