In the article above, She talks about treating the clay like its paper. She roles it out thinly and then gathers the material to create these forms.
In the book ‘Caroline Achiantre’ about her exhibition at the BALTIC Centre for Contemporary Art in 2016, there is a conversation between the artist and Emma Dean where they discusses the importance of the glaze looking moist.
She chose to use paper clay so she was able to get thinner layers without it collapsing but also that it is a good material to emulate other surfaces and textures with. Achiantre likes to emulate crocodile and snake skin textures as well as creating a sense of moisture through glazes.
Though the use of paper clay would have been good at creating the surface texture I desired without it falling apart, I did not feel it would have the same domestic meaning as using porcelain.