Details

Social Media

My Ceramics

About Me

Introduction	A paper clay-folic since 1992, based in Perth, Western Australia. Full time in the studio.
What I Love about Ceramics	Making things. Setting new studio challenges for myself. Meeting wonderful clay people around the world, The joy of sharing my studio successes and failures with others and helping them along on their creative journey.
How I started with ceramics	Grew up on a farm in NZ playing in the creeks in summer and snow tobogganing on the hills in winter. The snow quickly turned into mud when the sun came out! Perhaps not surprisingly I naturally gravitated towards wet clay at school, collage and university.
What inspires me	Human and animal patterns (sociology), Plant forms.
What I'm working on at the moment	combining paper clay and metal (see my article for the US Studio Potter a few years ago: https://www.grahamhay.com.au/writing.html. Busy preparing work for two exhibitions, two demonstrations and artist talk at the 17th Australian Ceramics Triennale is in Walyalup (Fremantle), Western ASustralia, 2-5 October 2025. Dozens and dozens of demonstrations, talks, exhibitions, master classes from international and local experts and clay lovers. Details are being progressively going up on their website.
My Artist Statement	I have been working mostly in earthenware, terracotta and porcelain paper clay for over 30 years. Ihave a deep interest in the social organisation around ceramics, and the social foundations of the arts. Initially I was inspired by the movement of my peers within an art school and then later the art world. To articulate my personal perspective I borrowed aspects of architecture and banksia flowers(see 6 February 2008 blog entry). Many see similarities to marine life in my work.Through my practice as both a professional artist and freelance art educator, my social networks have grown, providing both professional opportunity and creative stimulation. I hope my ceramic paper clay work suggests the cycles, rigidities and dynamic nature of both our individual and collective activities, and myself within it. Increasingly over the last decade I have been inspired by theories of non-organisational social networks.
My CV	Heading in this abridged CV are hot-links to more details: Graham Hay Education (4) 1995 Bachelor of Arts (Fine Arts) (Hons), Curtin University, Western Australia (WA) 1994 Bachelor of Arts (Visual Arts: Ceramics), Edith Cowan University, WA, AUS Exhibitions (182+) Siliceous Award for Ceramic Excellence, Brisbane Institute of Art, QLD 2024 Pushing Clay, Refinery ArtSpace, Nelson, NZ (1st Prize: $8,000 Forsyth Barr Contemporary Ceramics trophy) 2023 भू – त$: Elements of Earth, Emami Art: Kolkata Centre for Creativity, Kolkata, India 2019-21 Particle & Wave, The Fuller Craft Museum, Brockton, MA, USA Arizona State University Museum, AZ, USA Daum Museum of Contemporary Art, ID, USA Nora Eccles Harrison Museum of Art, UT, USA 2020 Out of the Park, Stela Contemporary, WA 2019 Decompression, Holmes a Court @ 10 Gallery, WA 2017 Personal Structures, European Cultural Centre, Italy (Venice Biennale) 2016 3rd Biennial of Contemporary Art, Argentina 2015 2nd Cluj Ceramics Biennale, Cluj Art Museum, Romania 2015 4th Chianciano Biennale, Chianciano Art Museum, Italy 2015 12th Sculture by the Sea, Cottesloe Beach, WA 2014 2nd Dublin Biennial, Dublin, Ireland 2014 Here & now LWAG, University of W. Aust 2013 Florence Biennale, Firenze, Tuscany, Italy 2011 Sustainable ceramic art and design, Frolunda, Gothenburg, Sweden 2010 Paperclay Today (International) Laguna Beach, California, USA 2009 6th Sculpture by the Sea, Cottesloe Beach, WA 2008 Solo, Moores Building, Fremantle, WA 2008 Redeeming the Ruin, Latrobe Regional Gallery, Vic, AUS Shepparton Art Gallery, Vic, AUS Mornington Peninsula Regional Gallery, Vic, AUS Banyule Arts Space, Vic, AUS Swan Hill Regional Art Gallery, Vic, AUS Horsham Regional Art Gallery, Vic, AUS 2008 5th Sculpture by the Sea, Cottesloe Beach, WA 2007 40 Contemporary Artists, CoCA, Christchurch, NZ 2007 Phrygia, Eskisehir Anadolu University, Turkey 2006 Paper Works, Ino Paper Museum, Ino, Kochi, Japan 2006 Solo, National Collage of Arts, Lahore, Pakistan 2004 Paperclay, International Ceramics Studio, Hungary 2002 International Ceramics, Panevezys Civic Art Gallery, Lithuania 2002 Holland Paper Biennial, Museum Rijswijk, Holland 2001 On Paper, Craft Council, London, UK 2000-1 Paper Clay Plus Crawford Arts Centre, St Andrews, Scotland Gracefield Arts Centre, Dumfries, Scotland Lillie Art Gallery, Milngavie, Scotland Kirkcaldy Museum & Art Gallery, Scotland 1999 Solo, Mura Gallery, Sydney, NSW 1999 Ceramics in WA 1970 – 1999, LWAG, University of W. Aust 1998 National Sculpture Forum, High Court of Australia, ACT 1995 Hatched: National Graduate Exhibition, PICA Northbridge, W. Aust Awards (22+) 2024 Supreme Winner, Forsyth Barr Contemporary Ceramics Award, Refinery ArtSpace, NZ 2021 Minderoo Station Residency, Minderoo Foundation Artist Grant, WA, AUS 2016 Primer Premio (ceramics), 3rd Biennial of Contemporary Art, Buenos Aires, ARG Commissions (18+) 2014 Sculptural seats, Tranby College, W. AUS Reviews/Books/Articles/Profiles (321+) Graham Hay Wins 8k Ceramic Art Award, Scoop Publishing online, 30 September 2024 Erickson, D. (2023) Inspired by Light and Land: Designers and Makers in Western Australia 1970 to the 21st Century, WA Museum, AUS. 537-539, 618, 622-623 Teaching Artist talks, Workshops / Masterclasses (347+): AUS, NZ, GBR, CAN, USA, SGP, IND, PAK, TUR, LTU, SWE, ITA Co-led paper clay symposia / conferences: HUN 2004, NOR 2007, USA 2009 2010 2014. Studio Classes, Perth, AUS 1998-2025 Public collections (14+) Kecskemet (HUN); Art Gallery of WA, State Library (Aus). Cities: Panevezys (LTU), Vincent & Mandurah (Aus) Writing (35+) 2024 Stepping outside clay, into paper clay; Mirn, Indian Ceramic Art Foundation, India, 2, 62-66. 2022 Challenges today technical and aesthetic, The Journal of Australian Ceramics, Vol 61, No. 2, July, 39 2019 Wired into paper clay, Studio Potter, USA 47,1, 62-65 2015 http://www.Translating Ceramics: Neolithic to Digital, to contemporary Social Object, Ceramics Ireland 34, 44-46