Front came out beautifully, mid stack as well, rear a little cool. Very top of front, mid, and rear were cold. Shelf config caused this, I think, because of the large shelves being close together, creating strata in the heat gradient. The very front shelf with guinomi and chawan was the main culprit, blocking the flame from rising, and directing it under the large shelves placed midway up the front stack.
In the future I need to stagger the shelf levels during stacking, to allow the flame to travel upward. Also, block some of the floor level flue channels at the rear of the chamber. Make sure upper flues are fully open.
These are some of the new patterns I’m playing with for the spring firing. There is much inspiration to be had from old Shino and Oribe work.
Many people don’t realize there was a great deal of cross pollination between Karatsu and Oribe in particular. There is also evidence that Furuta Oribe came to Taku at one point: one historical document mentions his name, and there are shards from the ruins of Taku Koraidani kiln that show very ‘Oribe-ish’ decoration, as well as most of a kutsugata bowl which is quite obviously made for tea ceremony.
Last year I bid on a small old Shino piece being auctioned (I bid about ¥12000, and didn’t win. The winning bid was ¥52000) the reason I wanted it was that it had a wisteria decoration on it that was virtually identical to some of the Taku Koraidani shards.
Rice plants and horse tails are both representative of Karatsu brush deco. The birds separated by a line bisecting the dish is a typical motif in the Taku pot shards.
Below is one of the pieces that I’ve started experimenting with this year. I really like Japanese brushwork but I don’t have the decades to study it for my pottery, and I’d feel bad doing a crappy job of it. I decided to try writing English with a brush, with little regard for the shape of the letters, rather letting the flow of the patterns emerge with soft, quick uninterrupted strokes. It’s intended to be gestural more than anything else, since it is quite difficult to read even if you know what it says. It has been a big hit with customers so far, and many people have thought it was Japanese script.
This cup says: “Be happy for this moment. This moment is your life.” It’s a quote by 11th century mathematician and poet Omar Khayyam. This is actually more legible than some of the other pieces I’ve done.
I’ve gotten pretty far behind keeping up with the blog, falling into the bad habit of making small posts to Facebook. One of my areas of increased effort over the next year will be to work more on maintaining the blog, and getting it more integrated with other forms of social media. Trying to keep track of them all is like trying to herd cats.
I had made one promise to show before/after pictures for a couple of pieces, the first of which is the slab/paddle built sake chiller w/ feet and lugs:
The other thing I’ve been working on since early this year is getting a usable kohiki/clear glaze combination, because for some reason a lot of customers have been requesting white work. They have also been requesting black, so I’ve been working on getting a reliable semi matte black glaze. Mission not quite accomplished, but I feel I’m most of the way there. Here is the kohiki I’ve come up with and I am happy with it:
Here are some of the pieces with the new black glaze. It seems to look best thin, and as with most glazes looks nicer over interesting wild clays rather than processed clays.
….is without a doubt the Peter Pugger de-airing pugger/mixer. Until two years ago I did all of my clay and stone mixing in a large deep platter by hand, and it was killing my wrists. Hearing all the wonderful things Peter Pugger had to say on their website, I took the plunge and decided to spend the money and save my hands. I figured if the thing worked half as well as it was supposed to, I would be ok.
Well, it is now about 2 years since I got it and it does everything it is reputed to do, and does it very well. My wrists are now pain free, and I have saved hundreds of hours of time processing and blending clay bodies.
Blending wet clay bodies usually takes about 15 minutes of mixing, but mostly I mix dry materials with water (sometimes blending into wet bodies), and this takes a while longer, usually around 30 minutes.
In my work, keeping the character of the wild clay is of utmost importance, and I’ve found that de-airing generally kills that character dead. However, the de-airing is necessary in getting the water to penetrate the dry materials more quickly, so that I don’t have to let the pugged clay sit for a month before using.
My solution to this is to let the clay mix, then I de-air it once completely, followed by re-mixing the batch for 5 – 10 minutes after reintroducing air. This gives me clay that is not as easy to throw, but which gives very nice trimmed texture.
Here are some pictures of some clay from the other day which I collected from the mountain behind my home. I added the dry/damp clumps of clay to the hopper (removing as many large rocks as I could find), then water, then mixed. I repeated these three steps until the hopper was full, then mixed for about 20 minutes, turned on the vacuum pump, and de-aired completely.
Next I went to lunch. It was yummy. It was sunny on the deck and there was a cool breeze. The neighbors have a great cherry tree in full bloom and the wind was blowing the petals off, and they were fluttering across the yard like giant pink snowflakes. I noticed as I saw some of them fall across the deck that the wisteria was budding out and even starting to show some purple. Nice. I imagine the wisteria will be in full bloom a few weeks early this year.
After coming back to the studio, I re-introduced air to the mixing chamber and mixed some more, then pugged it all out and made some pots. The whole process took about 2 hours. It takes even less time if you decide not to include lunch, but I recommend including it.