A selection of my favourite pieces old and new
Pit-firing is one of the most primitive forms of firing vessels, possibly the original method. Originally, as the name suggests, a firing done in a hole in the ground where the vessels are covered in combustible material and baked. There are many variations now and thankfully most do not involve digging a pit. The technique I apply utilises a purpose-built cavity between the pots and burning wood where the copper sulphate fumes are allowed to swirl and permeate the surface of my vessels. This results in the gorgeous pinks and deep crimsons alongside the deep blacks and light greys from the burnt carbon.
Please enjoy this small selection of my pit-fired keepsakes.
Raku – The hand-built tea bowls used in the traditional Japanese tea ceremonies are the original raku vessels. Unlike the time-consuming process of the normal ceramic firing which can takes days before the final reveal, in comparison, the raku process gives you almost instant results. The vessels are removed red hot from the kiln and dropped into some combustible material to reduce, then into water to cool.
To me the raku firing method is an enjoyable activity to be shared. A team of a few friends involved in this hands-on process makes for a very fun day.
Wood-firing for me is the ultimate firing process. The atmospheric effects with the wood ash fusing into the glaze or the bare surface is something special. Wood kiln firings are normally a team effort with a clear division of labour required to complete the marathon task involving gathering and preparation of wood, the painstaking process of efficiently loading the kiln ware to take the maximum advantage of the flame and ash path, the bricking up before the firing and then finally the actual firing.
While wood-fired pots may not as decorative or pretty as others they hold a special quality of strength and perhaps bring us closer to our need to relate to the natural earth from which we draw our inspiration.
My favourite wood-fired glazes include an orange-peel shino and of course the glazes mixed using the carefully sifted ash remnants left at the bottom of my log fire. Please enjoy my wood-firing selection here.
If you are ever lucky enough to be invited to participate in a wood-firing, go for it!
Majolica – This is truly a method of decorating that should appeal to those artistic people wishing to splash some colour onto a ceramic surface.
Some years back I attended a workshop that introduced me the traditional method of painting stains onto an unfired opaque white glazed terracotta vessel. Using liquid latex as a resist to create distinct sharp colour edges, we kept applying new fresh colour to the surface before carefully removing the latex to reveal some pretty awesome designs. Firing these pieces results in clear vibrant colours against the clean brilliant white surface.
After having experienced this process, I participated in a summer school program focusing on majolica technique. One of the pieces I kept from this school was a white earthenware bowl glazed in a clear majolica glaze which was overfired, causing the glaze and yacht design decoration to move slightly. The yacht has the appearance of movement and I would never part with it. This piece can be seen in the majolica gallery.
New – Every so often something comes out of my kiln that is not allowed to leave home. These pieces could be experiments, a piece that Christine has taken a liking to or something that has some imperfection but is too special to feel the final blow of the hammer.