All of these pots were made with clay from the property, discovered right under where we built the kiln. It has a lot of iron, but still takes some heat, and won’t bloat at higher temps. Probably due in part to the fact that it is very open with a lot of sand and other even larger inclusions. Even vitrified, it still sweats because of the openness. With use, the sweating stops, as all the pores fill with minerals from the water and tea tannins, etc…
Lately I’ve been spending all my potting time making large stuff for the next firing. It takes forever to dry, and I need extra time to bisque it all. Yup, all of it. No more cracked pieces because I glazed them raw and effed up.
So I was at a big drinking party the other night. My neighborhood mens group gets together bi-monthly to catch up and eat good stuff. A good custom overall. Anyway, the guy who hosted the party turned out to be a sake enthusiast as well, and while everyone else was drinking shochu (a hideous drink fit only for odd, uncivilized folk… just kidding….), he broke out a bottle of the local brewery’s best, and two very nice guinomi, one wide and shallow and one deep and tall. The hira-sakazuki (low, flat one) was a beautiful blackish red uber reduced surface, and made from really nice clay that contained quite a bit of iron, was fairly fine, and which was trimmed to perfection. The taller guinomi was Bizen Karatsu style, otherwise called yakishime. Neither were signed so I have no idea who made them.
The gorgeous hira-sakazuki inspired me to get back on the wheel and start making smaller work for the next firing. I started with hira-sakazuki and finished with Karatsu style tea bowls. It was nice to be back in the saddle, and the clay, which came out of the ground near my house, was beautiful to work with now that it has aged a few months since I processed and pugged it.
I ended up spending more time than I wanted on each of these, forcing myself to slow down the wheel and throw slowly, with as little motion as possible. I wanted these simple shapes to remain simple and not look too refined. One of the buzzwords for Karatsu ware is ‘Soboku’ 素朴, which roughly translates as ‘rustic’. Too much handling and you lose that quality. Spent all of that time processing local clay, it would be a shame to waste it by over-handling it. All of these pots will get a thin to medium coat of 90%spar and 10%ash. Maybe a couple of the sake cups will get a thin coat of iron and ash.
This post is a photo record with comments, in order to organize and retain my thoughts and observations about the 8th firing of the wood kiln. I always think I’ll remember until the next firing, but never do. So, if you get into this, beware there are a LOT of pictures, some of which may seem redundant. There are examples of most of the pots from the firing, minus teabowls and some others which are not photographed yet.
The 8th firing was a charm overall, with many good pots, some bad, and some that will get refired. Kiln was fired in oxidation primarily. We stoked once every 30 minutes for 2 1/2 days, then once every 20 minutes the last half day.
– Front was nicely melted, nice even gradient to the rear of first chamber, E-Karatsu was about ideal. Cone 12 at hottest front down to cone 6 at coolest rear.
– Front chamber behaves like anagama. No significant temp gradient from front to back of each setting. Next firing, will pack kiln by eliminating the space between settings, leaving horizontal space for flame travel. One long setting from front to back of first chamber.
– Ame yu better at low temps. Load rear to mid chamber.
– Ao yu needs more heat, mid to front chamber.
– Large platters go midway to back of front chamber. Too much ash up front.
– Firebox wares are very nice in a three day firing. Great place for Shino, under cover to avoid ash in pots.
– Rear chamber fires fast when preheated for 3 days. Jumped from 1044C to 1344C in four stokes, a little over an hour. Care must be taken to spend more time soaking at high temp, because rear chamber high temp wares not quite mature (surface changes only), clay not melted well. Spend 3 or 4 hours firing off rear chamber, slowly, to get inside the pots.
– Rear chamber fires very evenly front to back, and top to bottom. Pick a temp to fire at and load accordingly. Don’t expect a significant gradient.
This last wood kiln firing was a real disaster. All of my large pieces cracked or collapsed completely, and all of the smaller work ended up under-fired badly. The upside to this is that they can all be refired, and I just finished the 2nd of 3 refire loads in the gas kiln this morning.
From the first refire load, my favorite pot is a porcelain teabowl glazed with rice straw ash glaze. I don’t normally work in porcelain, but in my search for bodies that vitrify a little better than the local clays, I’ve started using partly or mostly porcelain in some of my work. This particular bowl is porcelain with as much feldspar sandstone mixed in as I could manage, and still have it wedge-able.
In the wood firing it was in a spot that got a lot of fly ash, and in fact a lot of flaky ash collected inside the bowl. Making sure not to dump this, I saved it for the gas kiln and fired it to cone 11 flat. All of that ash melted really nicely, mixing with the rice straw ash glaze for some nice color.
There are several bloats on the interior, but none really fragile or severe. These bloats and the blues and greens on the interior really remind me of some the old Karatsu bowls with their warty bloated surfaces and subtle coloring of fly ash on rice straw ash glaze. Another nice thing about this pot: the fire color from the wood kiln was not lost in the gas firing. There is a nice gold luster on the melted surface of the bare porcelain body.