Re-wilding practice…

After months of research and development focused on glazes made from kaolin (1) and materials sourced from local wetland and woodland sites impacted by climate damage, I had thirty small wheel-thrown, ceramic pieces ready to be passed on to Josh at GF Smith Papers. The goal was to review and pair each unique kaolin glaze surface with a type of GF Smith paper.

The Glaze Evolution

Initially, I developed a Shino glaze (2), which used only kaolin, calcium carbonate (from egg shells), and Nepheline Syenite, alongside the wild clay and mine ochre (3) sourced from a local wetland adjacent to a disused coal mine. This reduced number of glaze components simplified the testing and adjustment process, making it a great learning experience in understanding glaze principles. However, I quickly found that as I repeated this process to develop new glaze bases, not all the successful bases were compatible with one another. Consequently, weeks were spent developing each single glaze to get a stable and repeatable surface quality.

The next phase was to develop a ‘family’ of compatible glazes that could be layered, adjusted in combination, or used on their own. A large diversity of surfaces can be achieved by focusing on a ‘family’ of glazes that share similar base materials. Utilizing compatible frits and feldspars alongside the silica glass former, and Kaolin meant that, in addition to the six new glazes developed, multiple stable layered glazes could be achieved.

The testing process for all the different combinations and application methods quickly became unwieldy. Initially, after creating several amazing combinations, I found myself uncertain about what I had done to produce successful results due to the time lag in application and firing, along with the number of tests conducted. I learned the hard way to slow down and ensure that I documented and labeled each detail!

Collaboration with GF Smith Papers

Josh from GF Smith Papers, took each of the thirty vessels and matched them with appropriate papers. Using the Colour Plan series of papers (4), we explored various approaches, such as creating Josef Albers-type colour interactions. Ultimately, we developed a display method that utilized their sample-size colour plan papers and paired two to three colors with each glaze surface.

The matched papers were then cut to size by the GF Smith team, and we set about preparing the display of papers and pots for the interim exhibition of the ReWilding Practice programme.

The Colour Plan papers, made in Cumbria, adhere to high environmental standards—chlorine-free pulp treatments and lignin sourced from sustainably managed forests certified by the FSC (5). Not only are these papers recyclable and biodegradable, but their vibrant hues beautifully contrasted with the subtle tones of the kaolin, and natural source material glazes, adding a bold new dimension to my work.

A New Perspective

Intrinsically linked by the use of Kaolin, the papers and glaze surfaces worked well together. Introducing bold colours by pairing each surface with GF Smith color plan paper was a new experience for me. Typically, I source many of the pigments and colors I use from natural environments, such as mining ochre from disused coal mine run-off, wild clay, or earth pigments. Combining these hues with the depth and breadth of the colour plan series has opened up new and exciting areas of research for the next phase of my work.

Feedback from the community during this exhibition has proven invaluable, allowing me to reflect on my work and consider the next steps in my project. I am eager to explore how these new colour interactions will shape my artistic direction and deepen my engagement with the themes of nature, sustainability, and colour in my work. Thank you for following along on this journey—I can’t wait to share the next chapters with you!

Additional information:

1. Kaolin in paper filling and coating  

2. Shino Glazes: What they are and why they are they so special! 

3. Mining, pigment and ochre waters

4. GF Smith Colourplan

5. Colour Plan Environmental impact

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