Kiln & Tools
"Since 1990, I have been participating in large woodfired anagama
kilns, first at Nils Lou's East Creek anagama, later at the University of
Oregon anagama, and lately at Tom Kearcher's Jewel Creek anagama on the
Oregon coast. It has been a great challenge to bring my understanding of
materials and the melt into congruence with the demands of the anagama
firing. 018 and 044 show pieces glazed with my shino, which is somewhat
calcium-bleached where the fly-ash builds up. Again in 028, the middle
bowl shows this softening of color from the flyash in comparison with the
others which were fired in my doorless fiber kiln. The serving tray in 076
had a teabowl stacked on it, leaving evidence of the flame's path around
it, and dry areas behind. 077 shows the play of the long anagama flame and
its fly-ash on naked clay."
|| "It is a further pleasure to make pots for the woodfire which
start as materials collected in the wild and later processed in my studio.
Glazed only from fly-ash, 096 was made entirely from a
hydrothermally-altered Rhyolite dug on Calf Ridge near Steamboat, Oregon.
glaze on 098 is a highly weathered Andesite, dug on the Middle Fork of the
Santiam River, near Sweethome, Oregon, with about 6% added unwashed
Madrone ash, and the piece was pulled from the stokehole @ C/12 and
This ware is referred to in Japan as Hikidashi-guro, or
'pulled-black.' The result is truly jet black with lovely iridescence from
the solubles in the unwashed wood ash. Impatient with the scarce opportunities to pull these from the
anagama, I am designing and building a special small kiln to be able to
fire and pull around 12-16 of these pieces at a time, a Setogama!
|"I dig an
unaltered Rhyolite near Williams Lake, British Columbia, which, with 5%
additions of Dolomite and Wollastonite, yields a lovely soft celadon, as
||"The tenmoku yunomi in 097 was dotted with Madrone ash to produce
the yellow patches."
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