Fall and Winter 2011

Yes, I’m a terrible blogger. Haven’t posed anything in a year. I’ve actually had some posts in mind, and even half-written, just haven’t managed to get them finished and posted.But first, let me catch you up on the past year. Since last I wrote, I’ve failed to finish the quilt but succeeded in becoming somewhat happy with my electric kiln. I found a dark brown clay that looks great in oxidation, and made a couple of sculptural, wall-hung pieces that I’m very happy with. Still experimenting with the transfers–I’ve got the process down (glaze, apply transfer, fire to cone 04. 06 is not hot enough. 02 is really ideal, but then I can’t throw them in with a load of bisque, and it takes me long enough to fill a kiln that I really need to be able to multi-task).

This fall and winter were tough for a variety of reasons. My grandfather died in October. He seemed to be ready (as ready as anyone can ever be, I suppose) and it happened quickly enough that he didn’t seem to suffer much but with time for everyone to say goodbye. So it wasn’t a bad thing. I’ve been thinking about his life and our relationship. I’ll post about that soon, as it relates to some other things I’ve had on my mind lately.

Anyway, his death and the accompanying travel (which occurred during and after Portland Open Studios) made October a rough month. November brought other trials that I won’t go into, but the end result was to throw me off my game a bit this winter. I didn’t want to be in the studio, so filled my weekends with hiking, skiing, and spending time with friends and family. Which was really a very good thing in some ways, but not very productive.

But it’s spring now! You wouldn’t know it from the weather (cold and rainy, just like winter), but the trees and flowers are blooming and we have the occasional warm day. In February I fired with Ken Pincus, who has a lovely down-draft kiln 10 minutes from my home. He has a great firing crew, and runs his kiln in a way that I really appreciate. He has a specific idea of how he wants to fire, and gives clear yet polite instruction to the crew. The one drawback is that it’s smaller than an anagama, so there’s not much room for larger sculptural pieces. Looks like I’ll be able to fire some new work there later this month–teapots, cups, bowls.

Carol Opie and I are also trying to rent the Little Woody at MHCC. It’s an even smaller downdraft kiln, but with just the two of us firing we’ll have plenty of room for work. We’ve been trying to rent it for a year now (!), but it needed to be rebuilt over the winter. The rebuild is now complete, and it seems to be firing really well. We have wood and pots ready to go, and finally set a date–early May!

That’s all for now. Stay tuned for more… hopefully before next Spring!

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Bread and Soup

So I told you that it’s spring, things are looking up, and I have some firings coming up. But I didn’t tell you what I’m working on! Well, during the fall I started some figurative/sculptural pieces about relationships. Remember the “community” bottles from 2009? (Here’s a reminder if you don’t). These new pieces come from a similar place, but they’re less abstract. During Portland Open Studios, a family came to the studio saying that they’d been debating whether my footed pots were male or female. I gave them a wishy-washy answer, but was pleased that my pots got them talking. Later that week, I told a friend about the conversation. He said something about not worrying about it unless I made pairs. That got me thinking. The next weekend I started what would become a series of pots about body language and the interactions between people. Two pairs are finished, two are waiting to be wood fired, and I have ideas for a few more. I hope to eventually display them together, either at the studio or elsewhere. Still ambiguously gender-neutral.

This spring my inspiration is taking me in a different direction entirely. I’ve been really inspired by food this month. Maybe you read the Winter 2010/11 issue of Studio Potter on Sustenance? Many articles are about the added value of serving food out of hand-made pots. One, specifically about bread, reminded me of a big hand-thrown bowl that my mom always uses when making bread. I’m hungry for home-made bread just thinking about it. I’ve baked four loaves of bread since reading the article. Still trying to find the perfect recipe, but the last one (rosemary olive, with half whole wheat flour) was pretty darn good.

Maybe it’s the articles, the approach of Spring, or something else entirely, but I’ve been hungry for home-cooked food lately. Veggie soup, roasted potatoes, bread, quiche, lemon curd. I’ve been making functional work–tall mixing bowls, wide serving bowls, soup bowls. My mom’s big bread bowl is v-shaped and heavy with big, soft throwing rings. The bowls I’ve been throwing are more rounded but have similar throwing rings. I also like big, round feet on my bowls, to give them some visual lift, and something to grip while mixing and washing. Humm, think I’ll go bake some bread…

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What makes a great kiln?

A friend asked me the other day, “What makes a kiln great?” I gave him a long-winded analysis of differences between kilns, based on my experience and my reading. I’ve only fired three wood kilns (two anagamas and a small wood-kiln), so I hope that other more experienced woodfirers will chime in with comments.

This was somewhat stream-of-consciousness, so it’s a mix of differences in technical/aesthetic results, and the physical/emotional experience of firing different kilns with different people.

  • Most wood kilns fire to about the same temperature range, which is Cone 10-14 (2300-2400F). They need to get at least to cone 10 to melt the ash, otherwise the pots come out gritty or dry (though some people like that). The top temperature, and length of time the kiln is held at that temperature depend on the objectives of the firing, and lots of random factors like wood quality, weather, length of firing, etc.
  • There are visually obvious differences between kilns in terms of size and design. There are smallish arched kilns with a square footprint which fire with only a half-cord to a cord of wood in a day or so, and there are anagamas and noborigamas which are big and long, usually built into a hill and shaped like a whale. They take 4-6 or more cords and 2-10 days to fire. I’m currently getting ready to participate in a week-long firing in a two-chambered kiln, which will be a great learning experience for me (and hopefully a lot of fun!).
  • Type of door is a biggy. The door is made up of a large part that fills the main opening (so you have easy access for loading pots into the kiln), and a smaller door that you stoke through. Some kilns have solid doors that you wheel in place (nice!), while others you have to brick up (sometimes hard!). The smaller stoke door can be covered by a little hinged door or a big swinging heavy piece of cement on a cable. I’ll let you guess which is better. Also, some kilns really blast the heat when you open the stoke-door, while others are not as fierce.
  • Kilns definitely vary in terms of evenness. Most anagamas (the bigger wood kilns) are long and tend to be cooler in the back. It can sometimes be hard to get the back as hot as the front. Most people take advantage of that by putting porcelain in the back because it can be happier at slightly less high temperatures.
  • Some kilns have good areas and bad areas. I don’t have much experience with this, because all the kilns I’ve fired are good all the way through. That isn’t to say there aren’t differences–pots in the front get more ash, pots in the back might end up with more flashing. The shape of the kiln and the way it is loaded has a huge impact on how the flame travels through the space and what happens to pots placed in different regions. But I’ve heard stories about kilns with bad areas where no one wants to place a pot.
  • The type of wood makes a big difference, and many potters harvest wood from their own property, so location is a factor here too. Fir is good for ramping up the heat, but you burn through it fast and don’t get much interesting ash. Maple, cherry, alder, etc. are good for building up a coal bed and maintaining higher temperatures. Also I’ve been told you get better ash from medium-hard woods (which becomes the glaze on the pots) and really hard woods like oak can stall the kiln with a too-dense coal bed. It’s good to have a mix, but wood can be expensive, so you take what you can get.
  • I’ve heard that kilns at the coast get interesting effects from the salt air and the salt in the wood.
  • The length of the firing makes a big difference too. Longer=more ash buildup on the pots and more time to play with raising and lowering the temperature. I’ve never done a long firing, so this upcoming week long firing will teach me a lot.
  • Also, the new-to-me kiln has two chambers (the others I’ve fired only have one). The second chamber is for soda, which means some kind of salt/soda solution is added at some point during the firing. That makes a big difference in the surface of the pots, and is another great learning opportunity for me. I’ve only done one soda firing and it was in a gas kiln.
  • There is also the question of oxidation vs. reduction. Different clays and glazes react better with more of one or the other. The timing of reduction and oxidization cycles makes a difference (because the clay and glazes reach different stages of vitrification at different temperatures and react differently to the atmosphere depending on the stage). The shape of the kiln, how well sealed it is, the weather, etc. can make kilns want to reduce more or oxidize more. There can even be variation in different regions of the kiln. Check out this article by Owen Rye if you’re interested–there is a really useful explanation and chart explaining the oxidation and reduction cycles during stoking. And a lot of other really great information.
  • Different people want different results. The kiln owner (or workshop teacher or group leader) generally has the final say, but participants can sometimes weigh in. So if the group tends to be more into dark clays and rough surfaces (sculptural stuff), the kiln will be fired quite differently than if the group makes mostly light-colored, functional, heavily glazed work.

  • The group of people make a big difference in the experience of the firing. Drama=bad. Good cooking=good. I like most everyone I’ve fired with so far, but conflicts can arise and make a firing a less good experience. Fortunately those are few and far between, and usually easily resolved. Potters are pretty nice people as a rule.
  • Having somewhere warm and dry to hang out, and a comfortable place to sleep is nice. A shower is nice too. Glad I have a station-wagon, because sleeping in a tent in the early spring or late fall is not my cup of tea. I think I prefer kilns where we mostly stay on-site. I get a better understanding of the process if I’m there the whole time, rather than spending 8 hours stoking, then coming back to a completely different situation 16 hours later. But sleeping in my own bed is nice too. :)

So that’s my analysis of what makes a kiln great. There isn’t a simple answer–there are so many variables. Please, if you have something to add or if I’m completely wrong about something, add a comment! After April, I’ll have a new kiln to add to my firing resume, and probably a few more bullet points to add to my list.


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Winter is for finishing projects.

Finally I’m getting around to finishing up a few things. I had planned to get so much done over the holidays, but something came up at work so I didn’t have as much time off as I’d expected. But the dark and rainy nights of January are pretty good for getting me to stay in and be crafty, so the past couple weeks have been productive.

This is the quilt I started last winter during Snowpocalypse 2008. One side is jackets and pants, the other is dress shirts, all from Goodwill and Salvation Army. The squares are finally all put together. Next step is to find some cool fabric to use for trim on the wool side (I’m thinking burgundy corduroy or velour), binding (charcoal gray?) and batting for in between, then sew them all together. I saved the buttons when I dissected the clothes and I think I’ll use them to “quilt” it all together (like the toothpicks that keep everything from shifting around after the top, batting and bottom are sewn together like a sandwich).

The other project I’ve been sitting on is this laser printer transfer stuff. The idea is that laser printers use iron in the toner, so you print on these transfers, float them onto glazed pottery and bisque fire to set the iron onto the work. The transfer process went more easily than I expected, and they look great now. We’ll see how well they survive the bisque. Hopefully I won’t discover that my printer is one of the few that doesn’t use iron. These are just tests–stay tuned for some actual pieces if everything works according to plan. Images are from David Attenborough’s Amazing Rare Things.

 I had planned to spend the winter making lots of cone 6 work, to put my electric kiln to good use. When I was in Tacoma over the holidays I went to the Clay Art Center (awesome!) and bought a bunch of clay and glaze. Since I found out that I’m going to be firing with Hiroshi in April, the cone 6 project has become somewhat lower priority (20 cubic feet is a lot of work!), but I’ve thrown test cups of the three clays (Grolleg, Oregon Red and Oregon Brown) and will bisque them probably next weekend. I’m also experimenting with more pendants (want to see how melted glass works in the electric kiln–hopefully not too boring) and some towel tags (like wine-glass charms, but for your towel). A little kitschy, but fun to make, and I need some.

I want to test the clay and glazes before I make a lot of work, but I also want to fill the kiln before I fire it to cone 6…so I might have to take a chance with some mugs or something and just hope for the best. I’d offer to fill in with other people’s work, but since I haven’t fired the kiln to cone 6 yet, and it’s not the fanciest kiln ever, I’d hate to risk your stuff.

As for the work I’m making for Hiroshi’s — he recommended a clay called “Big White” for his kiln, so I bought some at the Clay Art Center. It’s really gritty but it throws pretty easily, and the name inspired me to throw some big pieces. Big for me–8 lb vases mostly, but a couple of two part pieces that are a little bigger. One tall vase that had me measuring my kiln. Some are really tight, others are much more loose, with great swirly throwing marks. I like them all! Also some more bottle and cup sets–need to make some trays to go with those. And I’ll probably make a few more footed vases and maybe another flailing feet piece or two.

That reminds me! The last thing on my list for the winter is to hurry up and post photos of my pieces from the two November firings. Not sure why it’s taking me so long to get those done. They’re all photographed and downloaded, just need to spruce up the photos and get them posted. I think it’s some of my best work ever. I absolutely love the bottle sets, though none of them sold in the holiday sale…maybe because I price based on how much I like a piece… :)


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A holiday wish for you.

I spent this Sunday morning working on photos for my portfolio and drinking tea out of this teapot and cup, both fired at Digger Mountain. I love how they both turned out — I wouldn’t change a thing about either. Drinking tea out of the cup is a pleasure to the eye, hand and lip. The blushing on the teapot sends shivers down my spine, and the pour is nice and strong without being splashy.

Reminds me of a moment, in middle school band camp (one time, at band camp…), we were practicing Pachelbel’s Cannon — playing the part where the 2nd clarinet has the melody line. I got this intense rush of wonder at being part of something so beautiful. I think that moment is why I stuck with music as long as I did, in spite of my lack of skill.

It is a very wonderful thing to be in awe of the beauty of something you’ve made with your own hands. So my holiday wish for you is that you create something this year that gives you shivers and makes you proud to be you.

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