Monthly Archives: May 2016

Goblets – caramel chocolate

 

I seem to have moved on to lidded pots, but still the goblets continue. Here again, tenmoku, overlaid with the zinc white 66. I’ve been making sets of six, each goblet in the set of similar shape and size,  with splashed glazes linking them together. I quite like the stark glaze drips at the back; however, some (who shall remain nameless) tell me the back should be less obviously a back, and also be a front (I think). I’ve been working on the idea, and the next lidded pots (awaiting a glaze kiln fiting) have an additional upside-down splash here. I was not entirely successful in making the splash ‘fit’… I will keep you posted.

Ht: 7.5 cm; di: 6.6 cm.

GobletCaramelChocolateBackFSCN4065

Anagama kiln – Small vase

 

Anagama kiln, five-day wood firing.

Heavily grogged, white stoneware clay.  Celadon inside, and a splash on the outside.

All the other tones are the natural effect of the swirling ash in the kiln.

Ht: 10 cm.; di: 8.5 cm.

Below, reverse and side view.

 

Anagama – Wood-fired vase

 

Five-day firing, at Arlette’s, out towards Arlon. Logs loaded regularly, day and night, anxiously watching the temperature gauge, as it moves towards 1300°C. Thanks to Alain, who was on the kiln team. The kiln is large, many potters contribute their pieces – the spread in the field is about half the kiln load (see above).

I used a heavily-grogged, white stoneware clay; I first pulled up a cylinder, and combed it while wet; then opened it out further, to get its rounded form. Angling the pot, I squirted one splash a celadon on the neck, letting it run down to the bottom, back (see below). Celadon poured on the inside. All the other colours are the magic of the ash glazes swirling in the atmosphere of the kiln, and then falling randomly on my piece.

Ht: 14 cm.; di: 12 cm.

Back view (at bottom).

AnagamaMarch2016-BackFSCN4026 AnagamaMarch2016-SideFSCN4027

Lidded Pot – Silver Cloud

Moving to rounded, lidded porcelain pots. Trying to keep them light, and to find the right lines, first for the shape of the pot, then for its close-fitting lid. Hoping for a steady hand, I try to make the squirts of glaze emphasize that line. A squirt of thick tenmoku first, then, when it has partially dried, I partially cover it with a watery squirt of a tin-white glaze. Finally, a fine covering of transparent 51, using the spray gun.

Fired in oxidation, to 1250°C

 

Below, close up: Silver Cloud