TECHNIQUE

After completing a piece of work intended for a barrel firing, whether by hand or wheel throwing, it is meticulously burnished to obtain a smooth, uninterrupted surface. Terra sigillata may be applied and the piece is again burnished. Terra sigillata imparts a sheen and softness to the work that I find quite compelling. It augments the surface of the work, whether textured or smooth. Afterward the pieces are bisque fired in an electric kiln to a temperature that will allow them to remain porous enough to trap carbon and fumes from the subsequent firing.

The pieces are then placed in either a loose saggar or pit fired in a barrel surrounded by sawdust, straw, kindling, and other natural combustible materials using wood as the primary source of fuel. The kiln or pit is ignited and nature is allowed to imprint its want on the enclosed pottery. This technique produces exceptional patterns with an array of colors from soft grays to black, fawn to deep browns, along with flashes of burgundy, yellow or fiery orange. Once the pieces have cooled they are cleaned and polished several times to enhance the surface color.

Another example of a low-fire technique is horsehair raku. In this method bisqued work is quickly heated to a red-hot temperature and then taken out of the kiln at which point horsehair and other combustibles are applied. The hair will singe and leave distinctive carbon markings on the piece.

Due to the nature of the firings, my work remains somewhat porous. In order to make a piece of work water-resistant the interior of bowls and vases may be coated with a ceramic sealant. If your intention were to place water in the item I would recommend applying a sealant periodically to retain that ability. This does not, however, make the piece food safe. Because these vessels are unglazed they are not recommended for food or drinking liquid. My work is designed for decorative purposes only and I encourage you to take pleasure in them as such.

These approaches to smoke firing are mostly uncontrollable and the losses suffered are high. The surviving pieces are unique and cannot be duplicated making each truly one of a kind.

PUBLICATION FEATURED IN:

Alternative Kilns & Firing Techniques published 2004, A Lark Ceramics Book

My techniques and those of the co-authors, James C. Watkins and Paul Andrew Wandless, as well as Randy Brodnax and Don Ellis are fully documented to support ceramicists exploring new methods to fire their creations.