Yes! Get thee hence!! (or whatever it is they used to say...)
(o:
When I was checking into the use of paper clay, one of the reasons that a lot of artists use it is because of the non-cracking and easy-repair qualities, particularly when working on pieces of unusually large proportions. Only problem is, the surface texture, as I recall, was not always the smoothest, but not bad either. Anyhow, some people used paper clay for repairing regular clay pieces too..or for creating a sort of strong "armature" that holds together well beneath the clay. The "paper" part of the mixture burns out during the firing, so that's not really a big problem later on at the glazing stage.
One thing I didn't like about the idea of it though,is that many artists say that the wet clay gets moldy very easily, especially if you mix it up and then don't use it pretty quickly. I'm so down on molds these days -- for what molds can do to respiratory systems, that I wouldn't want to work with a clay that had a tendency to do that.
Anyhow, sounds like you've got some ideas of how to work with the problems. The idea of taking a mold off of the first finished fountain sounds excellent to me. I especially think that when you think of these as works in an edition, it makes a lot of sense.
Well, back to my own stuff here. Just sorting through some photos of trees that I took a couple of weeks ago. Some awesome photos of hemlocks in an old growth type forest.
later
b |
