Re-wilding practice…

During my visit to the GF Smith Factory in Hull with the Feral Re-wilding Practice program, I was amazed by the wide variety of paper surfaces, textures, and colours. The tactile, sound and visual nature of the papers was truly multi-sensory. Upon further research, I discovered the many aspects of paper-making, including pulp, screens, couching, additives and composition, which influence the surface qualities of the paper. A key focus of my recent research has been the use of Kaolin in the paper industry.

Kaolin is a soft, white clay named after the hill ‘Kao-Ling’ in China, where it was first discovered and has been mined for centuries. Composed of the mineral kaolinite, 40% of the kaolin produced globally is used in the paper industry, both as a stabilizer in the structure of the paper and as a surface treatment. (1) It is mixed with glue to create a wide variety of surface finishes, ranging from glossy to opaque, whilst also giving the paper better ink compatibility. (2, 3)

Kaolin is also the main component of porcelain and is widely used in the production of ceramics. Artist Edmund de Waal’s work ‘The White Road’ (2015) explores the discovery of kaolinite and its fraught political and geographical history (4); 

Intrigued, I began my own exploration: How can sustainably and ethically sourced kaolin be used to create diverse and innovative ceramic glazes from natural source materials? This led me into the realm of glaze chemistry, investigating how kaolin and materials I collect from sites impacted by climate change could be employed to generate a variety of ceramic surface qualities. 

It’s been a steep learning curve… from the role of flux, glass former, colourants and clay in glaze composition to the specific gravity, application method, and integration of variable naturally sourced materials such as charcoal, organic material and mine ochre I collect from local sites.

Iterations…

Ceramics is a slow process of working at the pace of the clay, materials and firings;  Testing, adjusting, refining and retesting have been needed. Multiple iterations and adjustments have shown visually the role of each source material in the outcomes.

For example, minor adjustments in kaolin or wild clay proportions have had a dramatic effect on the surfaces, turning the glaze from interesting to unusable in a matter of 2-5 grams! 90+ test tiles have produced many failures and some repeatable, stable surfaces.  

Gradually, I have been able to build up a ‘library’ of intriguing outcomes on a series of 30 wheel-thrown bowls. I’m excited to see how these innovative kaolin-based surfaces will display alongside the huge diversity of GF Smith’s paper stock. 

Exploring the use of kaolin for making ceramic surfaces, rather than relying on commercial glazes, is not only more cost-effective but also allows for the recycling of all unused glaze (preventing waste). Additionally, this approach enables responsible sourcing of necessary materials, resulting in a number of environmental benefits related to the production process.

Conclusion:

In conclusion, developing kaolin and found material glazes is definitely a work in process as I continue to research how found materials and plant sources can be used in glaze chemistry and to test out adjustments and new ways of working with these materials. 

Sources:

1. Britannica Online, 2024, ‘Kaolin’
2. ‘Kaolin Clay Pigment for Paper Coating and Method for Producing the same’ – Patent/ research paper, author JUAN, Jun et al 
3. Science Direct: Recycling kaolin used in paper products to use as a paper surface treatment 
4. Edmund de Waal, “The White Road’,  Getty Museum, Youtube 

More information:

• Steve Loukes – easy ways to adjust glazes
• Oxford Clay –  making glazes from plant sources