Clayton Bailey PressÂ Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â 23213333210

RIPPED AND TORN
CERAMIC FORMS- 1960

These ripped and torn forms evolved from the process of wedging the clay. Wedging is a clay mixing technique in which pieces of clay are repeatedly cut and thrown down on one another until the clay is mixed. Clayton Bailey stops the procedure before the clay is thoroughly mixed, and while the clay still has visible laminations. The ripped and torn forms are made from these layered slabs of clay which often have dark layers of iron oxide accenting the laminations. The edges of the slabs are ripped and torn and pulled apart to produce ragged edges like geological formations or like broken slabs of sedimentary rock. The slab is bent into a dish or a pouch and mounted on short, pointed legs. Bailey built a salt kiln inside the University of Wisconsin ceramic studio, and salt glazed these pieces so that their textures would not be hidden by the glaze. Shown on right:

Ashtray- 1960

Salt Glazed Stoneware

6" X 6" X 6"

Planter Rock- 1960

Unglazed stoneware

12" X 10" X 8"

All of these ripped and torn works express the plastic nature of the clay. Bailey explores, perfects and simplifies each process to a series of gestures by making dozens or hundreds of variations on a theme. They are quickly made, and they deliberately emphasize the process of their formation by pinching, squeezing and poking the soft clay.