Sunday, November 16, 2014

New Wood-fired pots for Celebration of Seagrove Potters, Nov. 21,22,23

The Celebration of Seagrove Potters - a premier show of 57 Seagrove Potteries held at the old Luck's cannery in the town of Seagrove - is this weekend. Here's a sample of the latest work we just unloaded from the wood kiln and will be taking to the show.
Hope to see you there.

Wednesday, July 23, 2014

Anybody got any Elmers?

Me and Mary on a much-needed break

It's been a whirlwind of activity here in Ireland the past month and a half. We rebuilt the chimney to the wood-fired kiln that we built last year (chimney was blown over during a storm in February), set up the workshop, purchased clay and glaze material, made pots and fired them, and now we're finishing up preparations for our first ever kiln opening in Ireland.

Sometimes, I ask myself why. Why did I set up a shop in a foreign country where not a lot of people know me, where everything seems to be done in a different manner with different names for things, like kiln batts instead of kiln shelves, 4 x 2s instead of 2 x 4s... like going to the store for messages instead of groceries. And then there's converting metric measurements and centigrade. It was 28 today... that's 82 (dreadfully hot, here).

I think I love a challenge. I love to figure things out. And a challenge it was setting up here. Try walking into an Irish hardware store and asking for a pipe wrench (it's called a strainer here, I think because you strain a lot when you use it). Or how about some Elmer's glue for gluing wads on the bottom of pots when loading a kiln? Nope, they use glue sticks around here (Sure, don't you know everybody calls it Evo-stik?). I had to buy some white wood glue from the hardware store after driving around town and checking every convenience store in the area.

Looking for a vacuum for the shop. Everything's a hoover here, and you won't put a hoover in the trunk of your car. That's a boot - opposite end from the bonnet, you eejit.

So, it took a bit more figuring than usual, but Mary and I managed to get up and running in a few weeks, and tonight Mary's walking down the road she grew up on sliding kiln opening flyers into the mail slots of all her childhood neighbors.

We've set up some old pub tables Aunt Noreen gave us on the former rhubarb garden out back and we'll be covering them with tablecloths we purchased at the Eurostore and setting out the first pots fired in a kiln heated with deal wood (a christmas tree like pine grown here). Mary's driver's ed teacher, Eileen Leonard, is coming for the opening night to play her fiddle. We got a friend in County Clare, David Levine, who may come with his concertina and flute. I've got a bottle of Jameson, a few cans of Harp lager. There will be tea of course, and some coffee and lots of baked goods (God, I've eaten a lot of baked goods lately).

So, wish us luck. I'm still trying to figure out why I'm doing this, but it's been great.

A small vase paddled with a tiny hurley

Tuesday, June 3, 2014

Topping the Week Off with a Big Clean

Sitting at PTI airport in Greensboro, NC, eating "cacao dusted dark chocolate goji berries" and waiting for our flight to Philidelphia where we'll hop aboard a plane to Shannon, Ireland.... I'm beginning to settle down. It's been a busy few weeks leading up to our annual trek to Ireland: 27 foot-soaking bowls, an eight-place tablesetting for a wedding, 30 soul pots specially made to commemorate the U.S. Open Golf Championship, two wood-fired vases specially ordered, several custom wood-fired lamp bases, a chocolate pot reproduction, a baptismal font, six southwestern-glazed bowls.... There's probably something else I can't remember. At any rate, it's been busy getting orders out, and then on top of everything, I've been in touch with my friendly ceramic supplier in Cork, Ireland, DBI, sourcing kiln shelves and a slab roller. What do Mary and I do the morning of the day we leave for Ireland? We do the Big Clean in my main workshop. Thanks to my daughter for helping me clean the other workshop. When you hear from me next, I should be in Ireland.
The Big Clean at From the Ground Up, Seagrove, NC

Sunday, March 23, 2014

Waiting is killing me, but I need the rest

Peeking in the kiln is addictive
I'm sitting here, and I've been sitting here off and on all day, exhausted after firing my wood kiln for 15 hours yesterday. I've peeked inside and I see a lot of potential for nice pots, but I see some potential for not-so-nice pots. It's kind of difficult to tell when peering into an 800-degree F. kiln. I've got a lot of local clay in this kiln load: some high iron clay from my land that I love to throw because it stands up so well on the wheel and still can be swelled out with ease; some clay from my land that comes out of the ground grey with streaks of iron through it and behaves a bit thixotropically (becomes less stable the more you work with it); some yellow clay from my land that behaves terribly when trying to form a pot on the wheel; some local clay from Cameron, NC that threw beautifully once I got some of the sand and grit out of it; and a couple of processed local clay bodies from STARworks Ceramics, one of which can develop pockets of gas that expand and develop bloating if fired to too high in temperature in my wood kiln.

My kiln fires unevenly, so I loaded the kiln such that the clays that don't like as much heat are in the back of the kiln and the clays that can take the heat are in the front of the kiln. Basically, the high-iron clays don't like as much heat, so they are in the back of the kiln, but a few made it toward the front of the kiln as well. The middle of the kiln is mostly a clay from STARworks called Okeeweemee 10 which is a dark clay body which has bloated in the front of my kiln before but seems to take more heat than my local high-iron clay. But there are a couple of pieces in the front of the kiln made from Okeeweemee 10. I think some of us potters like to take chances.

My wood kiln is designed to produce a lot of melted ash and flashing effects on the pots. Flashing is when you get subtle colors of sheen that develop on the outside of the pot. The way you load a kiln affects the way it fires, and with a wood kiln, it affects where the ash deposits occur and the flashing. It's one of the main challenges in loading a wood kiln such as the one I fire. I decorate some of my pots with trees, vines, etc. so I have to think about these things.

I put a small cup made from some of my high-iron yellow local clay right up front in the kiln when loading it, where it would likely get blasted by flame and ash. You can see it to the right of the tall vase at the left. It might have bloated, but it appears okay. I'll be checking it out tomorrow some time.

Tuesday, March 11, 2014

Iron-rich Clay and Trees for Wood Kiln

I've been busy with trees lately - incising them into a variety of my indigenous iron-rich clay, through a fine layer of white clay. I'll be firing them in my wood-fired kiln next week. This iron-rich clay is dug locally, some of which is from my own property. I've got one batch of some of my own clay from a new source on my property and I'm excited to see what it looks like when fired. I'll be firing this load of pots to a lower temperature and doing a slow reduction cool at the end of the firing, something I haven't done with the iron-rich clays. So, I'm excited about that as well, although there's always a bit of anxiety included when doing something ew. These tree designs - especially the more intricate designs - take a lot of time to create. When you subject them to a kiln atmosphere which can produce heavy ash deposits, you've got to arrange them in the kiln such that the designs stay away from the heavy ash. Otherwise, you'll end up obliterating all that intricacy. Here's a few pots I'll be strategically placing in the kiln next week:
Large covered jar
Medium-sized soul pot
Another soul pot with triskele design
Some teapots
Dinner-sized plates
Some pitchers
Upside down vases
Incising with a dull needle tool

Saturday, October 19, 2013

Working Toward another Good Firing

Decorating another large vase for wood firing

I've got an upcoming show in Pensacola Florida the first weekend in November. The Great Gulfcoast Arts Festival is held Nov. 1,2,3. I'm firing the wood kiln next weekend, and I've been busy drawing trees and vines on five large vases I made last week.

These vases are somewhere around 20 inches high. The trees are the most labor intensive. I work for several hours on these. I'll be placing these in the wood kiln and firing in such a way as to maximize what we call flashing, and minimizing ash buildup.

Closeup of flashing on a pot
Flashing is where subtle coloring occurs on the surface of a pot due to the interaction of the clay surface with the volatile compounds of the flame. Too much ash buildup obliterates the color.

Placement of the pieces in the kiln is important, as well as how the kiln is fired. Placing a pot behind another pot protects it from too much ash buildup. If I decorate a piece with trees surrounding the entire pot, I will try to protect that pot from ash. If I decorate a piece only partially with trees, I can arrange the pot in the kiln such that the decoration is facing the back of the kiln so that the design isn't blasted by the flame and ash.

The picture below shows placement of pots in the front of the kiln. Top shelf for some reason doesn't get a lot of ash buildup in the very front of the kiln. Pots on shelves below it get a lot of ash, so the tree designs are facing the back of the kiln. The large pot at the top has three other large pots directly behind it, somewhat protected from the ash.

Front shelf

Ash buldup can be seen on left

Three vases ready for firing

Friday, October 11, 2013

Feedback Inspires

Wood-fired vase, 18 inches high

The picture above got a lot of attention when I posted it (along with a host of other pictures from the latest firing) on Facebook: 48 shares or more, and more than 100 likes, as far as I can tell, and I'm still getting feedback.

Nothing like positive feedback to inspire. I unloaded this pot during our annual kiln opening Oct. 5. I fired the kiln a little different this time, with a long "reduction cool" at the end. I let the temperature drop to 2,000 degrees and sealed it up, then stoked small fresh pine branches - a few at a time - for five hours as the kiln cooled to somewhere between 1,600 and 1,500.

I'll be repeating the technique during the next firing in the next couple of weeks. Meanwhile, I'm having fun with some new shapes. These are two-piece pots. The base is 10-12 pounds, the top, 4-5 pounds.

I'm including a few pictures from the last firing.

Three vases drying in studio, 18-20 inches high
Getting ready to lift one off the wheel
small bottle
Three small vases
Small vase
My high-iron local clay
My local clay
Three small jars