The Wood Kiln
In June 2019 with the help of master kiln builder Julie Crosby, we built a 38 cu. ft. catenary arch wood kiln.
This was a two year project. After many years of oxidation firing (firing pottery in the electric kiln in an atmosphere in which oxygen is always present), I decided that my work called for a different treatment. My pots were missing something. I knew I was not fully connecting to the experience of making my pots; The process of creating forms seemed intact, but once my pots were out of the kiln they lacked some element. I began to look at them more deeply and what I experienced was a call to make pots that were better inhabited, if you will, by my life, the things that matter to me -the search for truth, the state of the soul, the planet, all living things. My first inclination was to use less fossil fuel to make my work and imbue it with the somewhat unpredictable nature of atmospheric firing (manipulating the type and quality of air in the kiln during the firing process). During a residency at Watershed Center for Ceramic Arts in Maine, I fired atmospheric kilns, including a salt kiln, which I loved. I participated in a wood firing with friends and liked the results. I was looking at many pots and sculptures by artists doing atmospheric firing, and then I found myself looking at mostly wood fired work. I was still processing the process, so to speak..
Then began my inquiry into wood firing in earnest. Between November 2017 and October 2018 I visited a number of kilns. I became interested in a kiln designed by Marc Lancet and Masakzu Kusakabe, the Sasukanei Smokeless Wood Fire Kiln and visited Cerdeira Artist Center in Portugal to see the kiln and learn more about the center as its programs were similar to the model I was creating in Vermont.
Soon after I was fortunate to fire a similar kiln with Marc Lancet in Fairfield , CA at Solano Community College, where Marc has built an amazing ceramics program over the last 25 years. My interest was to learn more about the kiln he designed with Masakazu Kusakabe. I spent three days with Marc and his class and came away with really good information about their design and I gained a better understanding of wood firing.
Around the same time I was encouraged by my good friend, George McCauley to talk with Bede Clarke about his catenary arch kiln in Colombia, MO. When I saw Bede's wood fired pots I was moved to tears. I could clearly see the effects this type of firing would have on my work and knew it was the right direction. I called Bede and because he is of generous and good nature, he invited me to fire with him in a workshop he was hosting at his place. I sent some pots out to Missouri and arrived the day after. We loaded and fired his kiln. It was a blast. I met wonderful artists and came away knowing with no doubt that this was the right kiln design for my work and studio, and, again, gained a better understanding of wood firing.
I was pointed in the direction of Julie Crosby by my friends Hollis Engly and Kim Sheerin. Julie and I began a conversation that would continue for 9 months and by winter 2018 we agreed on a design. She arrived on June 14, 2019 and with a crew of four or five friends, we built the kiln in 10 days. I cannot say enough about Julie. She is a person of integrity and possesses an incredible work ethic. I now consider her a friend.
The kiln has been fired four times in its first year with a wonderful group of friends who are committed to this wild experiment. Because Covid-19 has made it impossible to schedule workshops, we work as a tiny crew, taking great care to keep each other safe. We are amazed at the effects this little kiln, now affectionately called The Pony, draws out in our pots. It is just what what I wanted for my work -closer dialogue with the process and a developing understanding of wood firing while learning the dance with uncertainty, mystery, and change.
This was a two year project. After many years of oxidation firing (firing pottery in the electric kiln in an atmosphere in which oxygen is always present), I decided that my work called for a different treatment. My pots were missing something. I knew I was not fully connecting to the experience of making my pots; The process of creating forms seemed intact, but once my pots were out of the kiln they lacked some element. I began to look at them more deeply and what I experienced was a call to make pots that were better inhabited, if you will, by my life, the things that matter to me -the search for truth, the state of the soul, the planet, all living things. My first inclination was to use less fossil fuel to make my work and imbue it with the somewhat unpredictable nature of atmospheric firing (manipulating the type and quality of air in the kiln during the firing process). During a residency at Watershed Center for Ceramic Arts in Maine, I fired atmospheric kilns, including a salt kiln, which I loved. I participated in a wood firing with friends and liked the results. I was looking at many pots and sculptures by artists doing atmospheric firing, and then I found myself looking at mostly wood fired work. I was still processing the process, so to speak..
Then began my inquiry into wood firing in earnest. Between November 2017 and October 2018 I visited a number of kilns. I became interested in a kiln designed by Marc Lancet and Masakzu Kusakabe, the Sasukanei Smokeless Wood Fire Kiln and visited Cerdeira Artist Center in Portugal to see the kiln and learn more about the center as its programs were similar to the model I was creating in Vermont.
Soon after I was fortunate to fire a similar kiln with Marc Lancet in Fairfield , CA at Solano Community College, where Marc has built an amazing ceramics program over the last 25 years. My interest was to learn more about the kiln he designed with Masakazu Kusakabe. I spent three days with Marc and his class and came away with really good information about their design and I gained a better understanding of wood firing.
Around the same time I was encouraged by my good friend, George McCauley to talk with Bede Clarke about his catenary arch kiln in Colombia, MO. When I saw Bede's wood fired pots I was moved to tears. I could clearly see the effects this type of firing would have on my work and knew it was the right direction. I called Bede and because he is of generous and good nature, he invited me to fire with him in a workshop he was hosting at his place. I sent some pots out to Missouri and arrived the day after. We loaded and fired his kiln. It was a blast. I met wonderful artists and came away knowing with no doubt that this was the right kiln design for my work and studio, and, again, gained a better understanding of wood firing.
I was pointed in the direction of Julie Crosby by my friends Hollis Engly and Kim Sheerin. Julie and I began a conversation that would continue for 9 months and by winter 2018 we agreed on a design. She arrived on June 14, 2019 and with a crew of four or five friends, we built the kiln in 10 days. I cannot say enough about Julie. She is a person of integrity and possesses an incredible work ethic. I now consider her a friend.
The kiln has been fired four times in its first year with a wonderful group of friends who are committed to this wild experiment. Because Covid-19 has made it impossible to schedule workshops, we work as a tiny crew, taking great care to keep each other safe. We are amazed at the effects this little kiln, now affectionately called The Pony, draws out in our pots. It is just what what I wanted for my work -closer dialogue with the process and a developing understanding of wood firing while learning the dance with uncertainty, mystery, and change.
