Beruflich Dokumente
Kultur Dokumente
Sculpture
Mortar Construction
by Mark Gordon
I
t’s sometimes difficult to deter- For simplicity’s sake, and to pro- “Spiked Log,”
mine just where the limits are mote an even shrinkage rate and fir- 44 inches in length,
unglazed stoneware.
with clay. Here’s a method of ing contraction, I use a slop-consis-
joining dry clay to dry clay for use tency mortar mix made from slaked
in sculptural work that certainly scraps of the same clay body that
proves the point. I was originally the sculptural parts are made from
inspired to try this technique after for joining, bonding and surface
observing the traditional rural brick coating. To create contrasts in color
makers on the banks of the Nile between the mortar and the clay, I
near Aswan, Egypt. I have adapted often add a darkening oxide or colo-
it over the years as I faced various rant such as iron oxide, manganese
deadlines and scheduling challeng- dioxide or black Mason stain.
es, including the breakneck produc-
tion pace when I have the chance Mixing the Mortar Clay
to travel and make art in different To make the mortar for assembling
studio spaces. Through these expe- dry greenware, begin by mixing
riences, I have developed a body of slaked scrap clay with powdered
work that uses this peculiar tech- clay and aggregate material. The
nique for joining bone-dry pieces so sculpture and the scrap should be
that I can produce pieces in these made from a stoneware body. The
situations where more traditional fire clay in stoneware helps to make
clay construction techniques would the structure stronger, and using a
not work. high-temperature clay body extends
99
Ceramic Arts Handbook
“Mixed Arch,” 12 inches in the glazing possibilities later. The wet mix to improve the clay body’s
length, unglazed stoneware aggregate material is the key fea- dry strength. Next, mix in the aggre-
with brushed oxides.
ture of this mortar. I use large quan- gate. Sawdust is my principal aggre-
tities of non-plastic material such as gate, as it is inexpensive and readily
mixed-sized sawdust or perlite, in a available. I add small quantities of
ratio of two parts aggregate to one perlite for its rough tooth, texture
part wet clay. and toughness. Note: vermiculite
First, mix the clay slurry, adding (expanded mica used for gardening)
water if needed until it reaches a con- should be avoided, because the clay
sistency about midway between slip may pit or flake after firing.
and plastic clay. Use a drill mixer or The final mortar mix is a stiff
clay mixer for larger quantities, and slop, similar to what I saw used by
a mortar trough (available at hard- Moroccan artisan brick-makers.
ware stores) for smaller batches. If Though not as wet as slip, it is still
you plan to build large-scale forms, far too wet to wedge. Due to the pre-
add a small handful of shredded ny- dominance of absorptive non-plastics,
lon fiber to about 60 pounds of this even slight aging causes the mortar
100
Ceramic
Sculpture
101
Ceramic Arts Handbook
1 2
Dip pieces to be joined into the “mortar” mixture. Attach the bone dry pieces.
3 4
Smooth out the join. For additional texture, brush more slip on the surface.
ply a strongly breaking glaze, then compounds to affect the final color-
rub it off of the high points to em- ation of the pieces. Carefully place
phasize the surface relief and set off ample fuel, underneath and around
sculptural forms. the ware. Cover the trench or hole
Pit and Saggar Firing with metal sheeting prior to lighting
Pit and saggar firing techniques the fire, and allow it to burn for six
offer an alternative surface treat- to eight hours.
ment. Usually, I spray or paint the To promote a variegated surface
dried surface with a white porcelain flashing in a saggar firing, I brush
slip. For an especially “gnarly” riv- each piece with a thin coating of cop-
erbed-cracked engobe surface, use per wash, then fill the saggar with
earthenware casting slip instead fine sawdust, coal dust, rice hulls or
of the porcelain slip. For pit-firing, coffee grounds. With the saggar well
place bisque pieces in a trench or sealed, I then fire the work in a gas
large oblong hole laced with copper kiln in medium/heavy reduction to
sulfate, borax and various sodium cone 012.
102