Paperclay - Firing Fibres II
an international ceramic symposium with masters
6th - 27th September, 2012

Followig n from the successful 2004 event Paperclay - Firing Fibres I, this important gathering will feature some of the worlds leading paperclay artists.

During the three week syposium, workshop participants wil create new works, share information and learn new techniques through the formal and informal sessions, discuss the advances and developments in this expanding field of ceramics through a series of presentations and lectures from all the participants.

The workshop will culminate in an exhibition of the work created during the symposium in the Museum of the International Ceramics Studio.

Featured Masters:

Rosette Gault (USA)

Rosette Gault, M.F.A Ceramics, has been contributing to the field of artistic ceramics as a visual artist for over 35 years. Her award winning ceramic sculpture and commission work has been exhibited widely since 1978, and is included in public and private collections in Canada, USA, Italy, Finland, UK, Czech Republic, Denmark, Hungary, and beyond.

Her books include Paper Clay for Ceramic Sculptors (in print since 1993), and Paper Clay (in print since 1998) co-published by University of Pennsylvania Press (USA) and A&C Black (London UK) and Artisan Craft Books (Australia). She has contributed articles for Ceramics Monthly, Ceramic Review, Ceramic, Art and Perception, and others. She was awarded a US Patent for her innovation with balanced recipes of paperclay and as such was a pioneer in in that field.

As ceramic art educator she has taught and lead workshops and master classes at top universities and art schools worldwide for over 35 years. She is based in Seattle, WA.

. . .

She has devoted nearly 20 years to the establishment of a formal knowledge base for paperclay ceramics that supports the expansion of the field art. Thanks to worldwide contributions by artist colleagues who joined in the pioneering, many more teachers began to share what they learned and the use of paperclay has slowly emerged as a practice. We are seeing ceramic works today that were not possible to execute and fire successfully in the past.

Jerry Bennett (USA)

I have been thinking recently about the importance of working with ceramics and how, time after time, I have been influenced by old traditional techniques in the craft. I find it ironic that I have found major influence in the traditions of pit-firing, and recently the use of paper clay. Paper clay has many advantages for the modern clay artist including; increased pre-firing strength, reduction in warping, increased joining capacity in both wet-to-wet joints and dry-to-dry joining. Paper clay has made a whole array of techniques available to me that I could not have thought of even a year ago. Super thin building techniques, translucent porcelain, and a very fast working style are all of the opportunities I have experienced.

It is my aspiration as an artist to create objects with a strong visual identity that reflects functionality, but are more than just a vessel. Through use of color, texture and movement, my work shows an evolution, which I hope, results in a straightforward and graceful statement. I enjoy many aspects of my art that is rooted in function, but I feel the important part is the play of form and texture.

. . .

My use of texture is the most evident characteristic of my work. There is a term "horror vacui" which refers to a fear of empty spaces and has been used by historians to describe Islamic Pottery. Like these potters, I also find my greatest satisfaction comes from thoroughly filling surfaces with color and finely detailed decoration.

My recent work involves references to traditional forms such as jars, or objects with an implied function. Applying non-traditional materials, I am attempting to redefine these functional or traditional objects. By using paper fibers mixed with the wet clay, I have been exploring very thin, highly textures surfaces. This technique of paper clay, which to my knowledge has rarely been done allows for many unique visual opportunities. The challenge that has taken thirty years of my life is to make modern objects that reflect this contrasting view of traditional forms with a unique material..

It is always difficult to explain my art in that it is very personal and based on a process of discovery. I am reminded of the artist Peter Milton, when asked to write a statement defining his art replied, “I would be a sad father indeed if these children weren’t able to speak for themselves”.

Gerle Margit DLA (Hungary)

A Magyar Iparművészeti Főiskola Kerámia Szakán tanult 1968-tól 1973-ig. Mesterei voltak Csekovszky Árpád, Jánossy György, Tölgyes Imre.
Pályáját ipari formatervezőként kezdte, majd önálló keramikusművészként dolgozott. 1981-ben és 1991-ben Finnországban, 1985-ben a Római Magyar Akadémián, 1995-ben Spanyolországban volt ösztöndíjas, majd 1999-ben az Egon Schiele Art Centre, 2000-ben az UNESCO-Aschenberg IFPC és a holland Európai Kerámiaművészeti Központ, 2005-ben az Aomori Contemporary Art Centre ösztöndíjasaként dolgozott.
1974-től 1975-ig a szegedi Tömörkény István Művészeti Szakközépiskola tanára. 1976 óta vesz részt a Szimpózium-mozgalomban: 1976-ban, 1977-ben és 1988-ban Siklóson, 1997-ben Lipótfán dolgozott.
A Magyar Iparművészeti Főiskola Mesterképző Intézetének tanára 1990-től 1993-ig.
Az Országos Kerámia Biennálék állandó résztvevője 1978-tól 1986-ig. Dolgozott a kecskeméti Nemzetközi Kerámia Stúdióban 1983-ban, 1986-ban, 1991-ben, 1994-ben és 1999-ben. 2005-ben doktori fokozatot szerzett.

Első pályaszakaszát a szabályosabb henger- és gömbformák jellemezik, majd egyre inkább a stilizált növényi formákból - szirmok, levelek -, illetve a geológiai képződményekhez, a tektonikus mozgások kialakította alakzatokhoz hasonló tömbökből építkezik.
Anyaghasználata 1978-ban a mázas kerámiától indult, majd a samott és a „vegyes technika” következett. 1988-ban díjazott kollekcióját is mázas samottból formálta. A kilencvenes évek elején áttért a mázas porcelán és a keménycserép alkalmazására, az új évezred kezdetétől fogva pedig a papírt is használni kezdi.

1980-tól 2006-ig negyvenhat megbízásos építészeti munkát teljesített Magyarországon, Ausztriában és az USA-ban.
Rendszeresen részt vesz országos és nemzetközi kiállításokon, pályázatokon, dolgozik hazai és nemzetközi művészcsoportokkal, előadásokat, workshopokat tart hazai és külföldi egyetemeken, nemzetközi konferenciákon.
Munkái jelentős magán-és közgyűjteményekben egyaránt megtalálhatók, művészi munkásságát hazai és külföldi szakértők értékelték jelentős szaklapokban.

see the archive from PAPERCLAY - FIRING FIBRES I, in 2004

How to participate

At the International Ceramics Studio we have comfortable ceramic studios and on site accommodation in single bedrooms (provided with bedding, pillows, blankets, towels etc.). The accommodation is self catering and we have large modern kitchens for preparing meals and lounges for socialising. Artists have full 24 hour access to their studios.

Cost of participating in the symposium is 210,000 HUF and includes, accommodation in single room, studio space,use of all equipment etc. Extra costs will be for the materials and firings you use.

Please email Steve at for details and an application form.

Creative Throwing and Soda Glaze
with Ruthanne Tudball (USA and Great Britain)
3rd - 9th May, 2012


További információ: Kormos Emese:


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